M I L L E N N I U M

"KINGDOM COME"

Ep. # 1.06  [MLM-103  (4C03)]

[ First Season ]  (Complete Transcript)

U.S. Air Date: November 29, 1996

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

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


[Scene fades in from white...]


TACOMA, WASHINGTON


[OPENING SCENE: Outside, night. A catholic church can be seen. A choir can
be heard singing the `Alma Redemptoris Mater' from inside. It is the Advent
Season -- the period beginning four Sundays before Christmas.]

[Inside, a priest, Father Schultz, can be seen conducting the choir as they
sing up in the balcony.]

  {Choir: " ...-demptoris Mater, quae pervia caeli
  porta manes, et stella maris, succurre cadenti,
  surgere qui curat, populo: tu quae... "}

[Down below in the nave, a single worshipper, a man, can be seen sitting in
a pew.]

[A woman steps out of from behind the curtain of the confessional with a
rosary in her hands. She walks past the man, Galen Calloway, who now stands
in the aisle awaiting his turn. His right hand can be seen. It bears the
scars of a bad burn from some time before.]

[He walks to the confessional, moves aside the curtain and sits down. Father
Silas Brown sits in the booth ready to hear the penitent's confession.]

  Galen: (quietly) "They live their lies so willingly,
  don't they, father?"

  Brown: "Sorry, I didn't hear."

  {Choir: " ...genuisti, natura mirante... "}

  Galen: "The ordained pretension of the sacred charade.
  Are you feeling... close to God tonight, father?"

[Galen continues to speak softly and cannot be heard clearly over the choir
by Father Brown.]

  {Choir: " ...tuum sanctum Genitorem... "}

  Brown: "Excuse me?"

  Galen: "No, I won't. Tell me your sins. Tell me what
  a liar you are."

  {Choir: "Virgo prius ac posterius... "} 

  Brown: "What's your name, son?"

  Galen: (whispers) "Bless you father... for *you* have
  sinned."

[Calloway abruptly leaves the confessional. Father Brown removes the stole
-- a long, narrow vestment with a cross on each end -- from around his neck,
kisses one of the crosses, opens the door to the confessional, steps outside
and pushes back the curtain to make sure that the man has left. He looks
around the empty nave for a moment, then goes out the door to try and find
Galen.]

  {Choir: " ...Gabrieles ab ore... "}

[Outside, a car's engine can be heard starting. It draws Father Brown's
attention.]

  Brown: "Son, wait a minute."

[As he walks towards it, the headlights are turned on, momentarily blinding
him. He raises his arms to shield his eyes from the light and continues to
walk towards the car.]

[As he walks past the camera, the church can be seen behind him. Two crosses
rest high atop twin steeples. Both are illuminated against the night sky.]

[He looks through the windows of the car but it is empty. He walks past the
car.]

  Brown: "Son?"

[Father Brown is struck from behind by Calloway with a tire iron. He moans
and falls to the ground and tries to turn to see his attacker.]

  Galen: "*Inquisitor deum*, father."

[Back to the choir singing a different hymn inside the church.]

[Then back outside again, beside the parked car by some bushes across from
the church.]

[Camera alternates between the choir and the events outside throughout the
remainder of the scene.]

[Calloway drags Father Brown by his feet off into the bushes.]

  Galen: "*Est in nomine dei, padre.*"

[Inside, the choir sings. Outside, Father Brown has been tied to a stake and
is lowered into a hole that has been dug into the ground. Chains can be seen
wrapped tightly around his waist. He is wearing a black cloak over his suit.]

[Inside, the choir continues singing. Outside, Calloway places logs of wood
at the base of the stake, preparing the auto-da-fé.]

[Cut to the choir singing. Cut again to Calloway striking a flare. He stands
before Father Brown who is just coming to. Both their faces are illuminated
by the light from the flare. Father Brown finally realizes what is happening
to him.]

[Inside, we see Father Schultz, still conducting the choir but now he hears
Father Brown's screams over the voices of the choir members.]

  Schultz: "Wait. Wait. Wait."

[He holds up his hands to silence the singers as the screams continue. They
all hear it now and rush from the church to go outside. They can see flames
from beyond the bushes and run towards it. The screams continue as Father
Schultz and the others round the bend behind the bushes and find Father Brown
screaming and writhing in pain, engulfed in flames.]


[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]


"And there will be such
intense darkness 
That one can feel it."

Exodus 10:21


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


[Episode credits roll during the next scene]


Brittany Tiplady (Jordan Black)

Guest Starring

Lindsay Crouse (Ardis Cohen)
Michael Zelniker (Galen Calloway)
Tom McBeath (Detective Romero)

Music by Mark Snow
Editor: George R. Potter
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 Jorge Zamacona
Directed by Winrich Kolbe


SEATTLE, WASHINGTON


[NEXT SCENE: Morning, sunny. The Black residence.]

[Inside, Frank is in the kitchen, at the stove, frying some scrambled eggs
in a pan. Jordan sits at the counter eating her breakfast. Frank chuckles
to himself as Catherine enters the room.]

  Catherine: "Something smells wonderful. What is it?"

  Frank: "Scrapple."

  Jordan: "What's scrabble?"

  Frank: "It's a mystery."

  Catherine: "Leftovers."

[Jordan looks at her mother.]

  Catherine: (to Jordan) "What do you want to do today?"

  Jordan: "Aren't you going to work today?"

  Catherine: "Today's Sunday -- day of rest... and fun."

[A noise is heard.]

  Jordan: "What's that, Daddy?"

  Frank: "It's okay, Jordan."

  Catherine: "Frank?"

[Frank heads to the living room to see what's happened. Catherine picks up
Jordan and follows.]

[He finds that something has struck the glass of one of the windows and
shattered it. He opens the front door and sees something on the porch. He
bends down, picks up a small bird and sits down on a chair.]

  Jordan: "It's a bird!"

  Catherine: "Don't touch it, sweetie."

  Frank: "Flew into the window."

  Jordan: "Why?"

  Frank: "It saw its reflection and got confused."

  Jordan: "What the matter with it?"

  Catherine: "It's just hurt."

[Frank carries it into the house where he places it in a shoe box that has
been lined with some cloth.]

  Jordan: "Is it going to get better, Mommy?"

  Catherine: "We hope so, sweetie."

[The phone rings. Frank answers it.]

  Frank: "Yeah? Yeah, this is me. Hold on a minute."

[He gestures to Catherine for a pen.]

  Catherine: "Who is it?"

  Frank: "Work."

[She hands him one.]

  Jordan: "It's not moving, Mommy."

  Catherine: "It's just resting, Jordan."

  Frank: (to the phone) "Where in Tacoma?"

  Jordan: "It's not breathing."

  Frank: "Okay."

[Frank notes the location down on paper, then hangs up the phone.]

  Jordan: "Is it going to die, Mommy?"

[Frank and Catherine look at each other, neither one knows what to say to
Jordan.]

[NEXT SCENE: the crime scene, located outside the church. A news van is on
scene, KOUS, Channel 08, as are several local law enforcement officers. The
entire area has been cordoned off with yellow tape.]

[Frank drives up in his Jeep Cherokee, parks, steps out and is waved to by a
woman, Ardis Cohen, who is speaking with a detective, assigned to the case.
She walks towards Frank as an officer lifts up the yellow tape so that Frank
can walk beneath it.]

  Frank: "Ardis."

  Ardis: "Hi, Frank."

[They walk together towards the bushes and the waiting detective.]

  Frank: "Where are we?"

  Ardis: "Closing ceremonies. The body's already been
  removed. I thought you might want to see the crime
  scene."

  Frank: "Yeah."

  Ardis: "Tacoma P.D.'s a little overwhelmed right now,
  but they're welcoming our help. Detective Kerney, this
  is Frank Black."

  Kerney: "It's my understanding you have some insight
  into this."

  Frank: "There was a series of homicides in 1992 involving
  men of the cloth. Ms. Cohen and I were part of the F.B.I.
  investigative team."

  Kerney: "Did you catch the guy?"

  Frank: "No."

[They walk towards the charred stake where Father Brown was burned to death.
A photographer takes one last photo as they approach the site.]

  Ardis: "Victim's name was Silas Brown. Georgetown
  University and a former professor at the International
  Institute of Catechetical and Pastoral Studies in
  Brussels."

  Kerney: (surprised) "A Jesuit."

[Frank has a brief vision as he stares at the stake.]

[{He sees: several images of Father Brown screaming, fastened to the stake,
as the flames engulf him. He hears his screams throughout.}]

  Kerney: "Is that relevant?"

  Frank: "I don't know."

[Frank walks round to the other side of the stake for a closer look at
something.]

  Kerney: "Went to a Jesuit high school. Father Dodson
  left a permanent impression on me... if you know what
  I mean."

  Frank: "You see this, Ardis? He was wearing a sanbenito."

[He bends down closer and places his hand on a spot on the stake where part
of the cloak Father Brown wore had fused itself with the wood due to the
intense heat of the flames. Ardis bends down to look at it too.]

  Kerney: "What's that?"

  Ardis: "It's a cloak. During the Middle Ages, heretics
  were forced to wear it before they were burned at the
  stake."

  Frank: "Did you see the forensics report?"

  Ardis: "Same materials."

  Frank: "It was only a matter of time."

  Kerney: "Hold on... what do you mean, the Middle Ages?
  What's that about?"

  Ardis: "The killer was very precise. The process is
  important to him. He treats the scene like a ceremony."

  Kerney: "What kind of ceremony?"

  Frank: Medieval. Freshly-hewn stake. Probably cut
  locally. Peat and wood for fuel."

  Kerney: "And your group thinks this is the same guy?"

  Ardis: "Very possibly."

  Frank: "Four years ago, three men were murdered in a
  similar fashion. Then it stopped... until last night."

[NEXT SCENE: a morgue. Ardis reads the autopsy report on Father Brown as she
walks around the charred remains which are on a table. Frank stands by the
victim's feet.]

  Ardis: "Victim is caucasian, male, 61 years old. There
  is evidence of blunt trauma to the occipital protrusion
  on the cranium. Sooty residue in the air passages,
  indicates the victim was most certainly alive when he
  was fastened to the stake."

  Frank: "He asphyxiated."

  Ardis: "Carbon monoxide robbed his lungs of oxygen.
  When the threshold drops below 21 percent, thankfully,
  you pass out."

[Frank puts on his eyeglasses.]

  Frank: "I know we both hoped we wouldn't be here again."

  Ardis: "But here we are."

[He bends down for a closer look at the body and has another brief vision.]

[{He sees: Father Brown screaming through the flames; the brightness of the
flames increases to a point where the man cannot be seen for a few moments;
then he can briefly be seen again. He hears his screams throughout.}]

  Frank: "Look at this, Ardis."

  Ardis: "What?"

[Frank picks up a pair of tweezers and inserts it into Father Brown's mouth.]

  Frank: "You see? The tongue. There's something burned
  into it."

  Ardis: "There was nothing specified."

  Frank: "Fused in the char."

  Ardis: "What is it, Frank?"

[He pulls out the object with the tweezers and holds it up.]

  Frank: "A coin. A Spanish peseta."

  Ardis: "New killer, Frank?"

  Frank: (sighs) "A break in the pattern. A refinement in
  his MO. Some kind of symbolism. Possibly an escalation."

  Ardis: "Maybe we can pull a print."

[She moves off to another area of the room to run some tests.]

[Later on, as Frank steps out from the morgue, he sees someone. It is Father
Schultz.]

  Frank: "Can I help you?"

  Schultz: "I'm sorry, I don't know my way around here.
  A friend of mine died and I'm supposed to arrange to
  have him sent to a funeral home."

  Frank: "Father Brown?"

  Shultz: "Yes, I'm Father Schultz."

  Frank: "You were his friend."

  Schultz: (nods) "He was a good man, a true believer.
  That's not as popular as it used to be."

  Frank: "Don't look for a reason, father."

  Schultz: "Are you saying there isn't one?"

  Frank: "Not one that would make any sense right now.
  The man who did this -- who we believe did this -- he
  does it without conscience. Is that evil?"

  Schultz: "There's a disconnectedness out there and
  those desperate with that feeling expect faith to
  fill the void and when it doesn't... they blame us."

  Frank: "I can't speak to that, father."

  Schultz: "No?"

  Frank: "I'm afraid my own faith is lacking."

  Schultz: "Well, I've ministered to many who have lost
  their way."

  Frank: "I think my time would be better spent trying
  to catch the man who killed your friend."

[Father Schultz nods and Frank walks away from him.]


SEATTLE, WASHINGTON


[NEXT SCENE: Outside, sunny, the Black residence.]

[Inside, Frank is in his basement office looking through a book which has
several black-and-white illustrations.]

[The first shows two men, each has one of their hands tied to a rope. Both
are pulled up by this rope by a third man to a post above their heads.]

[Turns the page.]

[The second shows two men with poles working at either end of a rack as a
third man is being pulled apart by the device. A gash in the man's side shows
some of his entrails pouring out onto the ground.]

[Turns the page.]

[The third shows four women being hung by the neck by ropes tied to a post
above their heads. A man stands on a ladder next to one of the women. Some
others stand nearby. A soldier on horseback is near three other women who
appear to be praying or pleading for their lives. Two other soldiers stand
on foot with spears in their hands.]

[Frank's computer gives a beep, then a few dings. Frank turns the page again.
The fourth is only partially visible. Flames can be seen and off in the
background, a man stands behind a woman near a huge cauldron with a fire set
beneath it.]

[He looks up from the book and notices a message box on his computer screen.
It reads: `YOU HAVE NEW MAIL' and a button: `OK.' Frank clicks on the button
and the message appears on the screen.]


                                 E-MAIL
            ______________________________________________________
             Back  Forward  Images  Open  Print
            ______________________________________________________
             TO: FRANK BLACK
             FR: A. COHEN
             CC:
             RE: REQUEST

             HELLO, FRANK.
             HERE IS THE INFORMATION YOU REQUESTED.
             A. COHEN

             ______________________________________________________
                   9x66       57600 N8 1


[He double clicks his mouse to view the attached photos.]

[Two images appear on the screen and across the top, there is the following:
`ST. LOUIS, MISSOURI  FEB.21, 1992.']

[The images are of a man tied in a similar fashion to a stake and burned to
death just as Father Brown was.]

[The first image is a full-body shot, including part of the surrounding area
and the stake itself and it shows the man is down on one knee, his muscles
having contracted due to the intense heat. He is bound to the stake. At his
feet, the ground is covered with soot and charred remnants of the logs used
for the bonfire.]

[The second image is more of a close of the man's full body.]

[Frank watches the screen as two more images are loaded onto his screen.]

[The first image is even more of a close of up the man's head and upper torso
and the angle has shifted to slightly above and from the left. It shows in
better detail the chains used to bind the man to the stake and the remains
of his clothing on his charred body.]

[The second image is only partially visible. The angle for this image has
shifted to slightly below and from the right. Again, the same detail as was
shown in the previous image.]

[Frank stares intently at the images and almost doesn't hear Catherine as
she comes down the stairs. He hits a key which brings up a blank blue screen
and turns to face Catherine who remains near the foot of the stairs.]

  Catherine: "Coming up?"

  Frank: "Yeah, right up."

[He rises from his chair and walks halfway across the room to her. She meets
him the rest of the way.]

  Catherine: "Jordan had kind of a bad day today, Frank.
  She was really upset about the bird."

  Frank: "What did she say?"

  Catherine: "She asked me if dogs die... horses, cars,
  trees... us."

  Frank: "What did you tell her?"

  Catherine: "I mustered all my clinical powers, and...
  lied."

[They both laugh.]

  Catherine: "And I told her you and I would live forever.
  So back me up on that, will you?"

  Frank: "Yes."

[Catherine begins to head back towards the steps as Frank turns back to his
computer, then she stops at the foot of the stairs again and... ]

  Catherine: "They asked to work on the murder of the
  priest, haven't they?"

[Frank walks over and stands near her.]

  Catherine: "I saw it on the news. It's frightening,
  you know?" (sighs) "Churches, clergy -- symbols of
  what's supposed to be safe haven, coming under attack.
  Why do they do it, Frank?"

  Frank: "That's what we're trying to find out."

  Catherine: "You get a chance to talk to Jordan, okay?"

  Frank: "Be right up."

[Catherine heads upstairs and Frank returns to his computer. He clicks the
mouse button twice and two more images appear on the screen.]

[The first is only partially visible. It is an extreme close of up the man's
head. Some blood can clearly be seen as well as the chain used to hold the
man to the stake. This image was taken after then had taken the man down,
while still bound to the stake.]

[The second image shows a more full shot of the man, laying on the ground,
still bound to the stake.]

[Frank removes the first image and centers the second one on the screen. He
then selects an area of the image which includes the man's body and the stake
but excludes the rest of the background and surrounding area. He enlarges the
selected area till it fills the screen. Blood and the chains can clearly be
seen now.]

[He selects another smaller section of this image, focusing more on the head
and its immediate surrounding area. He pans the image right because he sees
something carved into the stake near the head. He flips the image vertically
and while some writing can be now be seen, it is still difficult to read.]

[He select an area which specifically includes only this portion, enlarges
it further, then creates a negative image from the original and the carving
can now be clearly read: `SERMO GENERALIS.']

[Frank leaves through the same book he had been looking at earlier till he
finds a black-and-white illustration of a woman being burned alive. On the
stake is written the words: 'SERMO GENERALIS.' The flames are beginning to
consume her as a man, dressed in a hooded garment, reads from a paper in
front of her. Beneath the illustration is a caption: `The grand ceremonial
proceeding of heretics' and part of the text that follows is also visible: ]


         Heretics were burned at the stake according to the ...
         heretics. Perhaps it could be argued that the less ...
         existentional questions and more to do with the ...
         connection between heaven and earth. Concentric ...
         to complex questions, the frequency of distrib...
         interfence at supersonic levels


LARAMIE MUNICIPAL GOLF COURSE
CHEYENNE, WYOMING 

[Reverend Marcus Crane and his partner are playing a round of golf. Crane
swings and slices the ball to the right, off the green and into a wooded
area.]

[Crane sighs.]

  Golfing Man: "Ooh. Take a mulligan."

  Crane: (sighs) "Naw. I'll just be chasing two balls in
  the rough. You go on ahead."

  Golfing Man: "See you tomorrow, same time?"

  Crane: "Yeah, see you tomorrow."

[They both pull their golf bags which have been set on small hand carts
across the grass. His partner heads off to leave the course as Crane heads
into the rough to look for his golf ball.]

[Galen Calloway appears from nowhere. He finds Crane's lost ball right off
and bends down to move a leaf that covering it.]

  Galen: "This yours, reverend? Titan III?"

  Crane: "Yes, it is."

  Galen: "Tough lie."

  Crane: "Yes, uh... are you playing this hole?"

  Galen: "I was considering it."

[Crane looks down and notices Galen's golf bag on a nearby cart.]

  Crane: "Playing with one club?"

  Galen: "One's all it takes, reverend."

[Crane moves a bit closer to Calloway.]

  Crane: "Do I know you?"

  Galen: "I kept my vows. I loved, honored, and obeyed."

  Crane: "I'm sorry, I don't remember."

  Galen: "Well... " (chuckles) "It's just a job."

  Crane: "I've been retired for four years now."

  Galen (with sarcasm): "Retired from the Lord. I hear
  you."

[Calloway crouches down, picks up the golf ball and tosses it down in front
of Crane.]

  Galen: "Never pass up a chance to improve your lie.
  Right, reverend?"

[Crane stares at Calloway for a moment, then steps over to the ball, bends
down to pick it up as Calloway raises his club over Crane's head. He lifts
his head in time to see Calloway bring the club down with full force on his
head. He gasps just as the blow is struck, then groans and falls down to the
ground.]

  Galen: (again, with sarcasm) "Yep... that hurts."


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


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


[NEXT SCENE: Outside, night, the Black residence.]

[Inside, Jordan's bedroom. Jordan is in bed, pretending to be asleep as her
father enters the room to look in on her. Frank approaches quietly but breaks
into a grin as he comes closer to the bed. As he leans on the bed, she can no
longer keep up the pretense and smiles broadly.]

  Frank: (laughs) "You were trying to trick me, weren't
  you?"

  Jordan: "Yeah."

  Frank: "You little rascal, you!"

[He sits on the bed beside his daughter.]

  Frank: "Mommy said you had some questions for me."

  Jordan: "The bird died."

[He takes her hands in his and plays with them.]

  Frank: "Yes?"

[Her voice breaks as she speaks.]

  Jordan: "What happens to it?"

  Frank: "Lots of different ideas. No one knows exactly.
  Some people think the soul goes to another house."

  Jordan: "Another yellow house?"

  Frank: "Yeah, kind of."

[Catherine stands by the open door, listening.]

  Jordan: "Does God live there?"

  Frank: "Lots of people think he does."

  Jordan: "Do you?"

  Frank: "I think that if He does, He'd say to you: `It's
  way past your bedtime.'"

[Jordan chuckles.] 

  Frank: "I think He would say: `You're a little rascal.'"

[They both chuckle. He playfully pinches her cheek and she looks over at her
mother who is still standing in the doorway watching them both. Frank turns
to look at Catherine.]

  Frank: "Say good night to Mommy."

  Jordan: "Good night, Mommy."

  Catherine: "Good night, sweetie."

  Jordan: "Good night, Daddy."

  Frank: "Good night, baby."

[He kisses her on her forehead. She turns to one side, pulls the sheet over
her arms and drifts off to sleep.]

[Later, down in Frank's basement office, he is looking at the laser-printed
copies of the images he's just made.]

[He leafs through the copies, each one an enlargement of the previous one
till he arrives at the image of the carved words on the stake.]

[His computer again beeps and dings, signaling new mail has arrived. He
clicks `OK' to retrieve the mail. It reads as follows: ]


                                E-MAIL
        _____________________________________________________________
         Back  Forward  Images  Open  Print
        _____________________________________________________________
         TO: FRANK BLACK
         FR: A. COHEN
         CC:
         RE: GIF

         REV. MARCUS CRANE... DOA. BLUDGEONED AND DROWNED. DO YOU
         THINK THIS IS OUR GUY? CALL ME ASAP ARDIS.
             
        _____________________________________________________________
                9x66       57600 N8 1


[Frank double clicks his mouse and new images appear on the screen, one after
another.]

[The first image shows a diver in full gear standing in about three feet of
water holding a long stake of wood with his hands. A body is bound to the
stake and is submerged in the water underneath the stake.]

[The next image is more of a close up of the diver and the stake. More detail
of the chains which hold the body to the stake can be seen.]

[Frank leafs through the book again and finds another black-and-white
illustration, only partially visible on the screen. It is of a man pressing
down on a beam of wood on which a woman has been bound. He is forcing her
underneath the water so that she will drown. Frank looks at the caption under
the illustration which reads: `Ordeal by water']

[Frank grabs the phone and speed-dials a number.]

  Man: "This is Casey."

  Frank: "Hi, this is Frank Black. Uh, can I speak to
  Ardis?"

[NEXT SCENE: Frank meets with Ardis in Cheyenne, Wyoming, at the golf course,
the scene of the latest murder. They walk along the edge of a lake on the
golf course.]

  Ardis: "His name was Marcus Crane. He was a retired
  Presbyterian minister. If this is the same killer,
  this is the first time he's targeted a Protestant."

  Frank: "What was the cause of death?"

  Ardis: "Again, blunt trauma to the head to incapacitate
  the victim. The instrument was wedge-shaped, probably
  a golf club, but he died of drowning."

[Frank looks out onto the lake. It triggers a brief vision.]

[{He sees: several images of Reverend Crane being held underwater, still
struggling, trying not to drown. He hears screams and gurgling throughout.}]

[He turns suddenly and faces Ardis.]

  Frank: "The torture of heretics."

  Ardis: "Golf or drowning?"

[Frank smiles at the joke but quickly becomes serious again.]

  Frank: "The staging is just another method of determining
  the piety of the accused heretic."

  Ardis: "A one-man inquisition."

  Frank: "He planned this very carefully -- took time
  to watch the victim, to plan the ceremony. *Sermo
  generalis.*"

  Ardis: "If that's what he's doing, Frank, what is he
  trying to tell us?"

  Frank: "His choice to alter his methods is semiotic.
  The coin in the mouth. The elaboration of details.
  They're not meant as a message. They're for his own
  satisfaction."

  Ardis: "His lack of denominational concerns would
  indicate that he's becoming more random."

  Frank: "Not more random, more precise. My guess is
  he knew these men, that he was once a member of
  their church -- a seminarian or an altar boy."

  Ardis: "There's something else here. Something they
  found on the body."

  Frank: "What?"

  Ardis: "A man's wedding band in the victim's stomach."

  Frank: "Were there initials? A date?"

  Ardis: "No, nothing."

  Frank: "Hmm."

[He turns to face the lake again. He looks out across it, then straight down
into it and has another brief vision.]

[{He sees: the killer's hands around Crane's neck, the man's head is held
above the water but he seems to be choking on something. He hears screams and
gurgling again throughout.}]

  Frank: "The victim gagged. The choke reflex made it
  difficult to swallow."

  Ardis: "So you think something else might have been
  put in the mouth?"

  Frank: "Something that wasn't ingested. Something that
  was overlooked."

[Later, workers can be seen draining the water from the lake. Some men can
be seen with waders, looking through the muddy banks with gloved hands and
rakes. A large hose is connected to a pump which draws the water out and
pours it into a box with a screened bottom. Ardis, Frank and an officer look
through the contents of the sift box with gloved hands but find little except
for mud and a collection of golf balls.]

  Ardis: "Nothing here but drinking and driving. We've
  pretty much gone through it, Frank."

  Frank: "When they pulled the body out of the lake,
  which bank did they remove it from?"
  Ardis: "I believe the other side."

[She points to the opposite side of the bank.]

[She and Frank then walk to the other side. Frank removes his heavy yellow
rubber gloves and tosses them to the ground. They both walk beneath a yellow
police cordon and down along the bank.]

[Frank bends down at the bank's edge and looks through the mud. He finds an
object and scoops it up along with a handful of mud.]

  Frank: "Ardis."

  Ardis: "Yeah, what is it?"

  Frank: "A woman's engagement ring soldered to a wedding
  band."

[He holds out his hand so that she can take hold of the ring and shake the
excess mud from it.]

  Ardis: "It's engraved. `J.M.M.' The killer's initials?"

  Frank: "If we're lucky."

[NEXT SCENE: We see Galen in his room opening an old suitcase. From it, he
removes a small child's dress and a pair of socks and lays them out on top
of a dresser. The socks have sooty stains on them. He also removes a framed
photograph of himself, his wife and their young daughter. The glass has been
broken. He stands the photograph on top of the dresser near the dress and
socks.]

[He then holds an army bayonet in his right hand and squeezes his left hand
around the blade, drawing blood which drips from his hand and down onto the
knife -- sealing a blood oath.]

[NEXT SCENE: Ardis and Frank are in a forensics lab. She examines the ring
Frank found in the mud under a microscope. There is an extreme close up of
the initials on the ring as seen through the microscope.]

  Ardis: "The initials are engraved by hand. The
  craftsmanship is very fine. `Messina' is the designer.
  The word is stamped two millimeters from the setting.
  The number `750' is stamped one centimeter beyond the
  craftsman's stamp."

[Frank looks up a reference listing in a book for the specifics Ardis has
mentioned and finds that... ]

  Frank: "The ring is made of rose gold in Italy,
  sometime in the '40s. The number indicates the gold
  content to be 18 carats."

  Ardis: "An American service man bought a ring for
  his sweetheart during the war? Or maybe it's a family
  heirloom?"

  Frank: "Maybe both."

  Ardis: "Even if he were drafted at 18, that would
  make him about 70 years old now."

  Frank: "The killer's a younger man."

[An officer enters the room with a piece of paper.]

  Officer: "This came in over the wire."

[He places it before Ardis, then leaves.]

  Ardis: "A John Matewon, convicted felon, 35 years old,
  arrived in Cheyenne yesterday on a charter from Tacoma.
  He used a credit card to check into a Motel 8 on Route
  60 at 8pm."

  Frank: "John Matewon? `J.M.'?"

  Ardis: "No middle initial."

  Frank: "You take two out of three?"

[NEXT SCENE: Several Cheyenne police cars arrive at the motel. Frank and
Ardis are with them as all exit their vehicles and move into position. One
officer
removes a battering ram from the trunk of one of the cars. Many of them have
their weapons drawn as they break down the door to Room 213.]

  Officer #1: "Go! Go! Go! Go! Go! Go! Check the bathroom!"

[The bed is unmade and the covers are bunched up together. An empty bottle
of liquor is on the bed. One of the officers checks the covers to make sure
no one is hiding underneath. A couple of others head for the bathroom. Frank
and Ardis enter the room as John Matewon is finally found.]

  Officer #2: "We got him."

[The officers handcuff a heavy-set man and bring him out from the bathroom.
A flashlight is shone on Matewon's face. Frank looks at the officer in charge
of the operation and shakes his head. This is not their man.]

[NEXT SCENE: Outside, night, a different church than we've seen before.]

[Inside, the church secretary, Beatrice Crowly, walks through a hallway,
checking to see that all the doors are locked up for the night.]

[She hears some noise, glass breaking, from the floor above. She goes up the
stairs to investigate.]

[She opens the door to one of the rooms and enters. She tries to flip the
light switch several times but it won't turn on. We can see that there are
books and papers scattered everywhere. Someone has been searching through
the room for something. A flashlight is on the floor amidst the other items.
It is still turned on.]

[She sees it and walks towards it, righting up a floor lamp which has fallen
to the ground. She then picks up the flashlight and looks around the room.]

  Crowly: "What is going on here?" 

[Footsteps can be heard as the intruder walks up behind her. She turns and
gasps as she comes face-to-face with Galen Calloway. She shines the light
directly on his face as he hits her, knocking her down and out cold.]


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


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


[The next morning. A sheet of paper from a baptismal register can be seen
being placed into a large police evidence bag. There are smudges of blood on
the paper.]


ROCKFORD, ILLINOIS


[A detective holds the evidence bag in his hands as he kneels on the floor,
examining it. Another detective is also in the room, similarly gathering up
evidence. Frank and Ardis enter the room.]

  Ardis: "Frank, this is Detective Romero, Rockford
  P.D., forensics."

  Frank: "Hi. What else did you find?"

[He stands up and walks over to Frank and Ardis.]

  Romero: "The kitchen sink. We've got bloody prints off
  the cabinets. What makes you think this is your guy?"

  Frank: "You found a Spanish coin. The man we're looking
  for, has left them behind before."

[Frank looks at the front cover of an open bible on a display stand.]

  Ardis: "If it is him, he's getting sloppy. This isn't
  like him."

  Frank: "Maybe he was surprised. Is there any description
  of the assailant?"

[He pulls together his open jacket before approaching the desk at one end
of the room. He picks up an open ledger book from the desk top and looks
through it as Ardis speaks.]

  Ardis: "The church secretary, Beatrice Crowly, could
  only give us a narrative -- said a man attacked her,
  hit her across the face, then fled."

  Frank: "Where is she now?"

  Romero: "Froedert Hospital. She's going to be fine."

  Frank: "Was anything missing from the office?"

[Frank closes the ledger and places it back on top of the desk.]

  Romero: "We won't know until she's able to look through
  the mess. With any luck, she's gonna take a look this
  afternoon."

[Someone calls out to Romero from another room.]

  {Man: "Ronnie, come here."}

  Romero: "Excuse me."

[Romero leaves the room.]

  Ardis: "We've got a big change in M.O. here, Frank.
  The detail of the coin, aside. What was he looking
  for here?"

  Frank: "Information. Something important enough to
  travel a great distance to find."

[Some children can be heard singing outside. Frank walks over to the window
and looks down at them.]

  {Children: " ...yes I know. For the Bible, tells me
  so. Little ones to Him belong."}

[A group of six children are sitting on the lawn outside with their teacher,
singing the song.]

  {Children: "They are weak, but He is strong. Yes,
  Jesus loves me... "}

[Frank smiles as he watches them, then he becomes very serious.]

  Frank: "I know what he's doing."

  Ardis: "The killer?"

  Frank: "Yes. He's not killing men. He's killing faith."

  Ardis: "Why?"

  Frank: "I don't know but he was here looking for a
  name and address."

  Ardis: "Choosing his next victim."

  Frank: "He didn't come this far by accident. He knows
  who his victims are."

[Again we are in Galen Calloway's room. He is calmly placing several tools
into a duffel bag: pliers, wrenches... then he pulls the zipper closed.]

[Someone knocks at his door. He goes to the door, looks through the peephole
before opening the door a crack while still keeping the chain fastened. It
is the motel manager.]

  Manager: "I, uh, don't mean to bother you, Mr., uh...
  Calloway, but I need the holder of the card to sign."

  Galen: "She's dead."

  Manager: (chuckles) "Pardon me?"
  Galen: "The holder of the card, my wife, she's dead.
  Is that a problem?"

  Manager: "No, no, no problem. I-I'm sorry to hear that."

  Galen: "Yes."

  Manager: "It's just that the, uh, credit card company
  won't authorize the charges."

[Galen closes the door, removes the chain, then opens it again, wide this
time.]

  Galen: "Cash still good here?"

  Manager: (chuckles) "Wouldn't turn it down."

[He holds some money in his hands, peels off two twenty dollar bills and
hands them to the manager. A scar from the bayonet can be seen across the
palm of Galen's right (??) hand. The manager sees the scar.]

  Galen: "You wouldn't happen to know a man in town
  named Jack Harned, would you?"

  Manager: "Reverend Harned? Sure."

  Galen: "Seems he doesn't live at his old address."

  Manager: "He, uh, moved into his dad's house a couple
  of years back, after the old man passed away."

  Galen: "Maybe I could get that address from you. I'd
  like to make his reacquaintance."

  Manager: "Sure."

[The manager heads off to look for the address as Galen closes the door.]

[NEXT SCENE: Ardis uses an overhead projector to display one of the prints
they took at the church break-in. Notes have been written around the print
detailing information about it. They read: `RT THUMB' and `CABINET NEAR
DOOR.' Other notes there can only be partially read as Ardis blocks full
view of the screen itself.]

  Ardis: "This is the best one lifted from the set.
  The initial thought was that these were partial, but
  unfortunately, this appears to be the killer's whole
  fingerprint."

[Frank walks over and stands very close to the screen, looking directly at
the thumbprint.]

  Ardis: "The ellipticals were erased or mutilated."

[He has a brief vision.]

[{He sees: several blurred images, engulfed in a bright white light; a
woman's face, Galen Calloway's wife; the blurred images again; the woman
surrounded by flames; and blurred images again. He hears her screams and
the roar of a fire throughout.}]

  Ardis: "We put them up on the N.C.I.C. to look for a
  match."

  Frank: "What if they were burned, in a fire?"

  Ardis: "Why a fire?"

  Frank: (sighs) "Maybe the killer experienced an
  emotionally catastrophic event, a loss, something
  that consumed his faith, but didn't kill it."

  Ardis: "And now what? He's going to finish the job?"

  Frank: "Describe the killer. Define his victims."

  Ardis: "But how's he choosing them, Frank? What's the
  victimology?"

  Frank: "His victims have been of religious significance
  in his life... but what?"

[The door open and Romero enters the room.]

  Romero: "I've got Beatrice Crowly on the phone. She
  was able to go through the files. Says there are ones
  definitely missing."

  Frank: "Which ones?"

  Romero: "Christening records -- a whole year's worth."

[Frank and Ardis look at one another.]

[NEXT SCENE: Day, Reverend Jack Harned's residence. The doorbell rings and
the reverend's wife, Jill, opens it to find Galen Calloway.]

  Galen: "Mrs. Harned?"

  Mrs. Harned: "Yes?"

  Galen: "Hi. I'm an old friend of your husband's --
  a very old friend. Is, um, he home, by any chance?"

  Mrs. Harned: "Oh, he's just inside. We're in a bit
  of a panic."

[She opens the door wide, continuing to speak to Galen as she picks up her
husband's coat from the bannister, searching through its pockets.]

  Mrs. Harned: "Jack's officiated hundreds of christenings,
  but this is the first time he's doing it for a family
  member -- our little Emma."

  Galen: "Your granddaughter."

  Mrs. Harned: "Yes. The light of our lives."

[Not finding it there, she picks up her purse and searches through that.]

  Mrs. Harned: "You have children?"

  Galen: "No. No, I don't."

  Mrs. Harned: "Well, Jack's so excited he didn't even
  remember to pick up his vestments from the cleaners.
  Why don't you come right in? I got to run out. Be
  right back."

[She finally finds the receipt from the cleaners, walks past Galen and heads
for her car. Galen begins to enter the house, turns and watches her leave.]

[At the forensics lab, Frank, Ardis and Romero speak with Beatrice Crowly
on the phone. The speaker is on so that they can all hear her.]

  {Crowly: "I just don't understand it. I could have
  given him the information he needed."}

  Frank: "Mrs. Crowly, do you have any idea why he took
  those files?"

  {Crowly: "No, they're just records. There isn't much
  information on them."}

  Frank: "Do the files contain the names of the men and
  women who did the christenings?"

[The phone can be seen. The number on the dial is: `5558063.']

  {Crowly: "There was Reverend Lorans -- sweet man. He
  died last year."}

  Frank: "What was the name of the other man?"

[CUT TO: Inside Reverend Harned's house. Harned enters the kitchen where
Galen has been sitting, waiting for him. The reverend is still wearing his
underwear. His wife has not yet returned with his vestments.]

  Galen: "Reverend Harned?"

  Harned: "Yes."

  Galen: "I was just talking to your wife. You must be...
  mighty excited."

  Harned: "Who are you?"

  Galen: "My name is Galen Calloway. You don't...
  recollect my face?"

  Harned: "No."

[Galen unzips the duffel bag. Curious, yet annoyed at the intrusion, Harned
enters the room and moves closer to Galen and the bag.]

  Harned: "I think you'd better get the hell out of my
  house, son."

[Galen ignores Harned's warning and begins removing the tools from the bag,
laying them out on the counter top.]

  Harned: "You hear me?"

[The phone rings.]

  Galen: "Aren't you going to answer it, reverend?"

[Harned picks up the phone.]

  Harned: "Hello?"

[Frank is on the other end of the phone. Camera alternates between Frank and
the reverend throughout the scene.]

  Frank: "Reverend Harned? My name is Frank Black. I'm
  working with the Rockford Police Department. We believe
  that your life may be in danger."

[Galen turns on one of the stove's burners. He holds a pair of needle-nose
pliers over the open flame.]

  Galen: "During the Inquisition, priests were forbidden
  to draw blood, so they would heat their tools red-hot... " 

[The tip of the pliers is now glowing red with heat. Harned watches and
listens to Galen, still holding the phone to his ear. He had not responded
so Frank tries again.]

  {Frank: "Hello, sir?"}

  Galen: " ...that way the wound cauterized. No blood,
  no mess."

[Galen puts down the pliers so that it rests on the iron trivet, its tips
remain in the open flame.]

  Frank: "Listen very carefully -- we're on our way.
  Please, do not let anyone in your house. Hello, sir?"

[Harned still does not respond. Galen now holds an awl over the flame. He
turns his head to listen to the phone conversation.]

  Frank: "Reverend Harned, don't let anyone in."

  Harned: "I already have."

[A short time later, a car pulls up in front of the Harned residence. Ardis,
Frank and Romero exit from the car and rush up to the front door, which has
been left wide open. Romero leads the way with his weapon drawn and ready.

  Romero: "Reverend Harned?

[They enter the house and begin looking around. Frank peers into the kitchen
and spots Harned, dead on the floor. His t-shirt has been removed. His chest,
legs and hands are covered with wounds. There is very little blood. A small
cart on wheels blocks a view of his head or face.]

[NEXT SCENE: Inside the Rockford P.D. A woman works at a desk in the
foreground as Ardis stares out of a window in the background. Frank walks
over and joins her.]

  Ardis: (sighs) "We missed him by *minutes*, Frank. The
  son of a bitch."

  Frank: "Yeah."

  Ardis: "In all these years, we work at a distance,
  with a remove. It helps us to objectify... so why is
  this one different to me?"

  Frank: "The coldness, the calculation, the victims
  -- merciless acts against the merciful."

  Ardis: "I haven't been to church since I was eight.
  I've always been happily cynical. So why I am taking
  this so personally?"

[She turns to face Frank, then leans against one of the desks.]

  Frank: "I feel it myself."

  Ardis: "Have you and your wife raised Jordan in any
  particular faith, Frank?"

  Frank: "No. Catherine and I haven't even dealt with
  it yet."

  Ardis: "I know. My husband and I make it up as we go
  along."

  Frank: "Maybe faith is like the picture album left
  in the closet. We don't go back and visit it every
  day. We need to know it's there, need to know it's
  safe... so we can pass it along when the time is
  right."

[He looks out the window and has another brief vision.]

[{He sees: flames surrounding Galen's wife as she tries desperately to
escape. He hears her screams and the roar of the fire throughout.}]

  Frank: "Ardis... the killer, we haven't found him
  yet, because he isn't on the move. He's still here."

  Ardis: "What makes you say that?"

  Frank: "He was at the house when we called. He knew we
  were on our way. He didn't hurry. He didn't compromise
  the ritual. He was resigned, committed. He's become
  comfortable. You get the luxury of calmness in a murder
  when you know your surroundings."

  Ardis: "You think he's come home?"

  Frank: "I think that this is where the tragedy of his
  life occurred."

[Later, Ardis and Frank look at some records Detective Romero has called up
on a computer screen. Romero reads one of them aloud.]

  Romero: "February 14th, 1989. Joan Calloway and her
  six-year-old daughter, Sara, died in a house fire.
  Galen Calloway, the husband and father, survived, but
  with third-degree burns on his arms and hands."

[The screen can be seen. It reads as follows: ]


          ARSON REPORT

          DOC 2872923874239
          DATE February 14th, 1989

          NAME Calloway, Galen
          ADDRESS 1012 Meadow Park Lane
          ID# 101272472376
          RESPONDING UNIT: UNIT 286
          INCIDENT LOCATION: 1012 Meadow Park Lane
          OWNER Calloway Galen
          DOCIT # 426D7894
          ARREST Open
          NARRATION
          Arrived at scene 22:15.  Rockford FD on scene. 
          Residence fully involved.  ME arrived at 01:45.
          ME reports two deaths, Joan Calloway (35) and
          Sara Calloway (6).  See attached ME reports.
          Galen Calloway survived with third degree burns
          to arms and hands.


[Frank puts his eyeglasses and leans forward for a closer look. Ardis then
continues reading aloud. 

  Ardis: "Teacher of religious studies at Edgewood
  Catholic High School."

[A close up of another screen shows the following: ]


          KNOWN ASSOCIATES AND...
          Mosier, Janice Marie, M...
          OCCUPATION Teacher of...
          STATUS Inactive
          EMPLOYER or LAST KNOWN...


  Romero: (interrupts) "Jeez! My kids go there!"

  Ardis: "Mother's maiden name: Mosier, Janice Marie.
  It was his mother's ring, Frank."

[Frank takes a turn reading aloud.]

  Frank: "Three years after the fire, he was tried,
  convicted, and sentenced to five years for D.U.I.
  vehicular manslaughter. Ardis, he was paroled after
  three."

[Another close up of the screen shows: ]


          EMPLOYER or LAST KNOWN Edgewood Catholic High School
          VIOLATION     Felony, Driving under the influence
          LOCATION      15th and Maple Ave.
          CITATION NUMBER 93312817

          September 29, 1992 -  Convicted of offense and sentenced
                                to five years in a state facility.

          September 2, 1995  -  Passed parole hearing and was
                                released without delay.


  Ardis: "He didn't stop killing four years ago -- he
  was just interrupted."

  Frank: "I need two things, detective:... "

[Romero writes down what Frank requests.]

  Frank: " ...the church where the wife's funeral was
  held... the one where the daughter was baptized. Both
  will be Protestant and one of them is where he'll
  strike next."

[NEXT SCENE: Outside, night, a different church. A car pulls up and parks
across from a church.]

[Inside, a minister stands before a group of parishioners and reads from a
bible. He reads from Psalms, chapter 18, verses 1 and 2.]

  Reverend: "`I love thee, oh Lord, my strength. The
  Lord is my rock and my fortress and my deliverer, my
  God, my rock of refuge... '"

[The doors of the church can be heard opening and closing as Galen Calloway
enters the nave. He has a gun in his right hand which he cocks... ]

  Reverend: " ...my shield, the horn of my salvation,
  my strong horn... "

[ ...then pointing the gun up at the ceiling, fires it once, cocks the gun
again and fires it a second time.]

[Everyone screams and ducks down among the pews.]

  Galen: "If any one of you tries to leave, you will
  die. If you just sit down and sit still, I will tell
  you about the fiction and the fallacy as brought to
  you by the salesmen of salvation."

  Reverend: "Who are you?"

[Galen cocks the gun once more and points it at the minister.]

  Galen: "I... am the lamb."


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


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


ROCKFORD, ILLINOIS 
6:02 P.M.
 

[Calloway stands in the pulpit and recites Psalms, chapter 103, verse 17 to
the frightened worshippers who are now sitting in the pews.]

  Galen: "`The mercy of the lord is from everlasting to
  everlasting,' he said."

[Outside, several police vehicles pull up in front of the church.]

[Action alternates between the two locations throughout the scene.]

[Inside, Calloway continues preaching to the congregation.]

  Galen: "Confess your faith unto him who said, `all
  souls are mine.'"

[Outside, members of a SWAT team jump from a truck and move out into position
around the church. Other officers on the scene, do the same, drawing their
weapons and aiming at the church. A car pulls up and Romero, Frank and Ardis
step out from it.]

  Frank: (to Romero) "We have to set up lines of
  communication immediately."

[Inside, Galen continues his sermon and as he speaks, a tear falls from his
cheek. The gun rests on the pulpit before him.]

  Galen: "But Hell is stronger than heaven. And fire
  burns hotter than love."

[Some of the parishioners can be seen crying.]

  Galen: "There is no peace. There is no... forgiveness."
  (sobs) "Just, um, lonely nights, spent in empty houses."
  (pauses, then shouts) "Rejoice! Thy Kingdom Come... is
  here!"

[Calloway unsnaps his jacket to reveal a bomb that has been taped around
his waist. Behind him, a beam from a spot light from a helicopter hovering
above and across from the church, shines through the cathedral-style window.]

[He turns to look at the helicopter, then turns back to the pulpit and picks
up the gun when he hears the phone ring.]

[Outside, Frank is the one making the call. He anxiously waits for Galen to
pick up the phone. The noise from the helicopter is very loud.]

[Inside, the phone continues to ring. Calloway climbs down from the pulpit
and looks around for the phone.]

  Galen: "I hear a phone. Where's the phone?"

[The minister stands up and tries to show Galen where it is located... ]

  Reverend: "It's right over... "

[ ...but Galen shoots the man in his left leg for his trouble. The others
scream.]

  Galen: (shouts) "Where's the damn phone?"

[Outside, they've all heard the shot that was fired. Frank still holds the
phone, listening to it ring, waiting for Galen to answer it.]

  Romero: "Is he shooting hostages? We got to go in."

  Frank: "Let's not make this any worse."

[He covers the phone's mouthpiece.]


  Frank: (to the phone) "Come on, Calloway, come on."

[The phone rings once more. Calloway has finally found the phone on a small
side table and picks it up.]

[Camera alternates between the two throughout the phone conversation.]

  Frank: "Mr. Calloway, this is Frank Black."

  Galen: "Are you a police officer?"

[Frank angrily raises his voice to be heard over the helicopter.]

  Frank: "No, I am not! What's this shooting about? Is
  anybody hurt?"

  Galen: "He'll live... "

[He looks over at the minister who is sitting on the floor in the aisle,
holding his bleeding leg.]

  Galen: " ...for a while."

  Frank: "I want you to calm down. There's no need to
  shoot anybody."

  Galen: "Really? Why is that?"

  Frank: "I know why you're here."

  Galen: "You know why I'm here? You *think* you know
  why I'm here."

  Frank: "You're here because of Joanie and Sara."

[The phone falls from Galen's hand as he starts crying again.]

[Outside, Frank remains on the phone for a few seconds before realizing that
he won't get Galen back on the phone.]

  Frank: (to Romero) "I'm going to go in there. And
  lose that chopper."

[Frank begins making his way through the throng of police vehicles towards
the church. Ardis chases after him.]

  Ardis: "Frank, no. You know as well as I do, there's
  no hostage-for-hostage scenario that's ever worked."

  Frank: "The hostages are incidental."

[Frank takes off his jacket... ]

  Ardis: "Not if he's shooting them."

[ ...removes something from his waistband and puts in one of the jacket
pockets, then tosses the jacket down on top of one of the cars.]

  Frank: "He's on a suicide march."

  Romero: "So, you plan on walking in there and becoming
  another unintended casualty?"

  Frank: "I think I can reach him."

  Ardis: "What makes you say that?"

  Frank: "I know what he wants."

[Frank continues to walk towards the church's front door.]

[Inside, we see Frank as he enters. He looks around and sees the members of
the congregation huddled within the first few pews on the left side of the
nave and the minister sitting in the aisle. Galen Calloway then rises from
where he had been crouching down beside the door. He points his gun directly
at Frank.]

  Frank: "I'm not armed, Galen. I just want to talk with
  you."

  Galen: "Then talk. Move."

[Calloway gestures with his gun for Frank to move towards the front of the
church.]

  Frank: "Let these people go."

  Galen: "They're here and they have to be sacrificed."

  Frank: "Just like Joanie and Sara were sacrificed. I
  hear you, Galen, and I know what you're doing."

  Galen: "You lie. Just like the priests and the holy men.
  Get down on the floor." (shouts) "Now! Get down on
  your knees!"

[Frank kneels on the steps before the altar. Calloway sits on the steps
beside Frank.]

  Galen: "The first lie that passes your lips I blow
  your head off."

  Frank: "What do you want to know?"

  Galen: "Are you afraid to die, Frank?"

  Frank: "Yes."

  Galen: "Then you don't believe in God."

  Frank: "I haven't thought about it in a very long
  time."

  Galen: "Why?"

  Frank: "Because I've seen the innocent die. I've seen
  children murdered in their beds. The weak and helpless
  slaughtered, without purpose, without sense."

  Galen: "Then you *know* the truth. You know that God
  has abandoned us. That's why you're afraid to die.
  Just like I am."

  Frank: "No."

  Galen: "You're lying."

  Frank: "I'm afraid, Galen, but not like you. You're
  afraid to die, because you fear God's judgment."

  Galen: "I've... lost my faith."

  Frank: "No, you've tried to kill it, but you can't.
  I've... seen your ritual. You try to kill your faith
  with the tools of your own belief because of your
  pain, because you think God's forsaken you. You think
  that you can get rid of your pain by slaughtering the
  faith that's inside you."

[Calloway becomes emotional again and begins to lower the gun.]

  Galen: "It *is* inside of me, isn't it." (cries)
  "It just won't die."

  Frank: "I want to help you... Galen."

[Frank looks at the explosives strapped to Calloway's waist.]

  Galen: "I've... I've felt His presence all along.
  Oh... " (sobs) "Him watching me. Oh... Oh... Joanie
  and Sara watching me."

  Frank: (whispers) "But God doesn't want you to kill
  yourself or anyone else."

[Calloway struggles to bring his emotions in check.]

  Galen: "No." (pause) "No... but I have to."

[Calloway stands up, walks up behind Frank who remains on his knees on the
steps and... ]

  Galen: "Because... I can't... kill... him."

[He cocks the hammer as Frank braces for the impact of the bullet.]

[A shot is fired. Frank falls forward.]

[The people scream as the SWAT team rushes through the doors.]

[Then Calloway can be seen lowering himself to his knees and dropping the
gun down on the ground beside. Frank can also be seen. He's all right and
turns to look at the entering SWAT team and Ardis and Detective Romero.

[The SWAT team, in full riot gear with shields and helmets, then take Galen
into custody. They push him down so that he is prostrate on the ground.]

  SWAT: "Put your hands behind your back! Get up!"

[Frank and Ardis exchange looks, then watch as the police remove Calloway
from the church.]

[Later that night, outside, Frank arrives home by taxi. He pays the driver,
steps out of the cab and walks towards his home.]

[Inside, he enters his bedroom and finds the lights are still turned on and
Catherine has fallen asleep in bed with an open book on her lap while trying
to stay up and wait for his return home.]

[He quietly enters the room, puts down his bag and sits at the foot of the
bed, watching his wife sleep. She awakens and looks at him.]

  Frank: "Hi."

  Catherine: "Hi." (sighs) "I tried to wait up."

  Frank: "It's all right, it's late."

[Catherine leans forward.]

  Catherine: "Are you okay?"

  Frank: "Yeah. I was just thinking on the plane about
  this man Calloway. I felt how human he was -- so
  inundated by pain, fragmented by grief. It led him
  to surrender his humanity."

  Catherine: "I know, Frank. It scares me."

  Frank: "We can't stop evil but we can't lose our faith
  either."

  Catherine: "And you're thinking that's what we need
  to teach Jordan."

  Frank: "I'm going to tell Jordan that bad things
  happen. And even though the bird died and it upset
  her, we have to balance sadness... with a sense of
  hope... and faith."

  Catherine: "I still have faith, Frank -- even in a
  world where men like that exist."

[Frank takes her hand in his.]

  Frank: "So do I."


[The credit fades in from black... ]


Executive Producer
Chris Carter


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


[End titles roll]


Ten Thirteen Productions
in association with

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

Story Editor: Charles Holland

Co-Starring

Terence Kelly (Detective Kerney)
Jan Burrell (Jill Harned)
Laurie Murdoch (Father Schultz)
Peter Haworth (Reverend Jack Harned)
Ed Harrington (Reverend Marcus Crane)
Arnie Walters (Father Silas Brown)
Roger Allford (Golfing Man)
Brad Wattum (Reverend)
Ralph J. Alderman (Motel Manager)
Wanda Wilkinson (Sister Beatrice Crowly)
[Alan Lehros] (John Matewon)

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: Jack Hardy
Second Assistant Director: David Klohn
Set Decorator: Erik Gerlund
Art Director: Roxanne Methot
Construction Coordinator: Clare Davis
Script Supervisor: Beth Mercer
Location Manager: Matthew Chipera
Hair Stylist: Brenda Gibson
Makeup Artist: Diane Pelletier
Special Effects Makeup: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Marko Lytviak
Sound Mixer: Patrick Ramsay
Camera Operators: Rod Pridy, Mike Wrinch
Gaffer: Barry Donlevy
Key Grip: R.K. Hill
2nd Unit Director of Photography: Les Erskine
Property Master: Kimberley Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: James Perenseff
Extras Casting: Lisa Ratke
Assistants to Chris Carter: Mary Astadourian, Joanne Service
Production Coordinator: Toni Pedersen
Casting Associate - Los Angeles: Alfred Gomez
Casting Associate - Vancouver: Heike Brandstatter
Post Production Supervisor: Julie Herlocker
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark R. Crookston
Re-Recording Mixers: James G. Williams, Bryan Gladstone, Don MacDougall
Re-Recording Engineer: Steve Coxer [Coker]
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Jim Thomson, Robert Hudson
DaVinci Color Timer: Philip Azenzer
On-Line Editor: Rob Minshall
Visual Effects by Area 51
Visual Effects Supervisor: Glenn Campbell
Visual Effects Producer: Tim McHugh
Main Title Sequence by Ramsey McDaniel / Storm Media
Processing by Gastown Film Labs
Telecine by Gastown Post
Electronic Assembly by Encore Video
Camera and Lenses by Clairmont Camera
Vehicles Provided by Chrysler
Filmed on Location in British Columbia, Canada
Presented in Dolby Surround TM where available


Copyright (c) 1996
Twentieth Century Fox Film Corporation
All Rights Reserved #4C03

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

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

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

========================================================
Millennium
Copyright and TM, 1996 -- FOX Broadcasting Company
========================================================

Last Updated: July 16, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net