M I L L E N N I U M
"THE WILD AND THE INNOCENT"
Ep. # 1.10 [MLM-110 (4C10)]
[ First Season ] (Complete Transcript)
U.S. Air Date: January 10, 1997
[ Note: Maddie Haskel's narration is presented here in italics. ]
=====================================================================
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 intro as the scene fades in from white...]
[OPENING SCENE: Day, thunderstorm, a procession of cars drives along an open
stretch of road leading to a cemetery. It is led by hearse. Maddie Haskel
narrates throughout the episode.]
{Maddie: "Sometimes I feel time slip like a heart
beat, dear Angel. I wonder if you feel it too across
the distance. To have known you for so brief a time.
To live with the possibility that we shall never meet
again."}
JOPLIN, MISSOURI
[Having reached their destination, the occupants of the cars are gathered
around a coffin for the burial as the preacher says the eulogy.]
Preacher: "Killean Marie Haskel's passing is a lesson
to us all. She was a selfless friend, a loving mother.
Her life was hard, but it was her own. She did not
surrender to sadness or hardship. She surrended to
the fatigue that comes with being a good person."
[Maddie can be seen at the ceremony, crying. In her hands are some flowers.]
Preacher: "Killean found no peace in this world. We
pray the Lord helps her find some in His."
[She looks across at a man, Jim Gilroy. She glares at him and he just stares
back at her. She then places the flowers on top of her mother's coffin.]
Preacher: "Ashes to ashes, dust to dust. We commit
the body of Killean Marie Haskel to the earth."
[As her mother's body is lowered into the grave by hand with ropes, Maddie
continues to glare at Gilroy.]
[Later that night, outside, the Haskel residence.]
[Inside, Maddie is in her bedroom, brushing her hair. Gilroy opens the door
to her room and enters. He grabs her by the arms and throws her on the bed.]
Maddie: (screams) "No! Stop it!"
Gilroy: "Just you and me now."
[He climbs on top of her as she struggles to get free but he's much stronger
than she is.]
Maddie: "Stop it! Stop! Stop it!"
[She turns her head and sees a young man enter the bedroom. He has a stick in
his hand. His features cannot be seen because he is in the shadows with the
dimmed light from a lamp behind him.]
Maddie: (crying) "Please stop."
[Gilroy turns to face the young man and is struck on the head with the stick.
The young man is Bobby Webber, Maddie's boyfriend.]
[Bobby tosses Gilroy's still unconscious body into the trunk of a car. It is
wrapped in a white sheet.]
[Bobby and Maddie can later be seen driving on a road in the car. She is in
tears. It is raining.]
Bobby: "Hell, Maddie. He wasn't coming up to read you
`Winnie-the-Pooh.'"
Maddie: "But this isn't the way we talked about it.
You said you were just going to make him tell us where
he is."
Bobby: (shouts) "What do you want from me?"
[A police siren can be heard behind them.]
[Bobby checks his rearview mirror as Maddie cries even harder.]
Maddie: (to herself) "Oh, God."
Bobby: (very softly) "Just be quiet."
[He pulls their car over to the side of the road and waits. He looks over at
Maddie who has stopped crying for now and is trying to regain her composure.]
[The trooper get out of his car and begins walking towards them. Bobby looks
into the sideview mirror and watches the trooper as he approaches. He rolls
down the window.]
Bobby: "Evening, officer."
Trooper: "The reason I pulled you over tonight is you
have a burned-out tail light."
Bobby: "Oh, yeah. I got a fix-it ticket for that last
week. I'm just waiting on pay day to get it done."
[The trooper shines the flashlight on Maddie's face and sees the tears on her
cheek. She looks up at him then turns her face away.]
Trooper: (to Bobby) "Can I see your license, please?"
Bobby: "Oh, yeah, I have it right here."
[He reaches down behind him on the seat and picks up something -- a gun.
Maddie looks down and sees it just as some muffled groan and a thump can be
heard from the trunk of the car -- Jim Gilroy has awakened. They all turn
their heads to look at the rear of the car.]
Trooper: "What the hell was that?"
[The trooper, distracted by the noise, then turns to find Bobby pointing the
gun at him. Maddie opens her mouth as if to shout a warning but is unable to
make a sound. Bobby fires the gun and the trooper falls to the ground.]
{Maddie" "If you are indeed lost to me, it is my Lord's
prayer that you are not lost to Him, dear Angel -- that
you'll walk in the light, that you 'll forgive, and that
you'll never have to know the truth."}
[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]
"O Lord, if there is a Lord
Save my soul, if I have a
soul--"
-Ernest Renan
[Scene fades in from white... ]
[Episode credits roll during the next scene]
Terry O'Quinn (Peter Watts)
Brittany Tiplady (Jordan Black)
Guest Starring
Heather McComb (Maddie Haskel)
Jeffrey Donovan (Bobby Webber)
John Pyper-Ferguson (Jim Gilroy)
Michael Hogan (Captain Bigelow)
Music by Mark Snow
Editor: Stephen Mark
Production Designer: Sheila Haley
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Ted Mann
Consulting Producers: James Wong & Glen Morgan
Co-Producer: Ken Dennis
Co-Producer: Chip Johannessen
Co-Producer: Frank Spotnitz
Co-Executive Producer: Jorge Zamacona
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Jorge Zamacona
Directed by Thomas J. Wright
[Morning, a beautiful sunny day outside the Black residence.]
[Inside, Jordan, still in her pajamas, is crawling on all fours, slowly
moving towards her parents' bedroom. Toys can be seen laying on the floor.
She makes her way around a corner near a radiator, moves past a chair with a
teddy bear resting on it and continues to move towards the bed.]
[Frank is sitting crosslegged on the bed with a copy of the Seattle Tribune
in his hands. He has it open and glances at the pages, then he peers over it,
catches a glimpse of Jordan's stealthy approach and pretends not to notice.]
[She reaches Frank's side and pops up beside him.]
Jordan: (shouts) "Roar!"
[Frank laughs then picks up his daughter and holds her on his lap as she
giggles.]
Frank: "Oh, I'm being attacked by a tiger!"
Jordan: "No, I'm a lion."
Frank: "A lion? You want to play again?"
Jordan: "Yeah, but this time I'm a bear."
Frank: "A bear? You just better promise not to scare
me, okay?"
[Catherine Black enters the room carrying two mugs.]
Catherine: "What's going on up here? The whole house
is shaking."
Frank: (laughs) "There's a wild animal in the house."
[He tickles Jordan who giggles again.]
Jordan: "Mommy?"
Catherine: "Yes, sweetie?"
Jordan: "Are you and Daddy going to have another baby?"
[Surprised by the question, Catherine looks at Frank for help but he just
raises his eyebrows and tilts his head to one side. She's on her own with
this question.]
Catherine: "Uh, I don't know."
Jordan: "I want a baby."
[Frank laughs again.]
Catherine: "You do, huh?"
Jordan: "Families have lots of kids."
[Frank plays with Jordan's toes, picking her foot up by lifting her big toe,
causing Jordan to giggling again.]
Frank: "Some families, they have one and some families
have more. They're still a family."
Jordan: "But can I have a sister?"
[She giggles once more as her parents look at one another. Then the phone
rings saving them both from continuing the conversation further.]
Catherine: "I hope it's for me."
[She answers the phone.]
{Man: "Frank, please."}
[Frank goes down to his basement office to continue the phone conversation.
He picks up the phone there and... ]
Frank: "Hi, sweetheart. You can hang up now, Jordan."
Jordan: "Okay."
Frank: "Thank you."
[A click can be heard.]
[Frank turns on his computer and connects with the Millennium Group. The
screen reads: `Welcome Frank Black. Starting up... ' ]
{Peter: "Frank, it's Peter Watts."}
[Peter's voice is heard but he is never seen on screen. Perspective remains
with Frank throughout the conversation.]
Frank: "Hi, Peter."
{Peter: "Frank, I just sent you something -- something
you should see. Are you online?"}
Frank: "Yeah."
{Peter: "Familar face?"}
[The screen displays three items: a photo of Jim Gilroy; some information
about him including his real name, Jake Waterston; and an NCIC report which
details his arrest for multiple murders back in 1992. The screen reads as
follows: ]
IMAGE TRANSFER SUBJECT INFORMATION
Name: Jake Waterston
{ Photo } Alias:
Sex: Male
DOB: March 21st 1966
POB: Fulton, Missouri
Height: 6'2"
Weight: 175
Eyes: Hazel
Hair: Brown
Skin Tone: Medium
Scars/Tattoos: SCR Arm SCL Arm
SSN#: 437 -32-5034
NCIC#: W47223-4538
NCIC FPC: 10 TT 38P0 1323
NCIC REPORT
Arrested for: Kidnap and rape charges
Warrant Issued At: Newport New, Virginia
Date of Warrant: December 22, 1992
Warrant Number: 3825-1105-3004-F
CONSIDERED ARMED AND DANGEROUS
Jake Waterston kidnapped, raped and murdered three nurses in Newport
News, Virginia in 1992. Strangled them with ten-pound test line and
left the bodies in the James River.
[Frank reads aloud part of the NCIC report.]
Frank: "`Jake Waterston. Kidnapped, raped, and murdered
three nurses. Newport News, 1992. Strangled them with
ten-pound test line. Threw them into the James River.'"
{Peter: "He's surfaced. Living under the name of Jim
Gilroy in Joplin, Missouri for the past five years."}
Frank: "How'd he turn up?"
{Peter: "Missouri state trooper was shot last night,
point-blank. The car at the scene is registered to
Jim Gilroy. State police lifted his prints out of his
house and sent them out on the N.C.I.C. They matched
Waterston's. We picked it up here."}
Frank: "Let's make sure we don't lose him again."
[NEXT DAY: Morning, Bobby and Maddie are again on the move as their car
travels along a road.]
Maddie: "Think he's all right back there?"
Bobby: "Couldn't say."
Maddie: "Well, when are we going to pull over and ask
him where he is?"
Bobby: "Don't worry about, okay? We just gotta find
a back road out of this state and we'll be fine."
[She looks down at ring on her right forefinger, distractedly playing with
it using her thumb.]
Maddie: "Think Jim'll tell us where he is?"
Bobby: (snaps at her) "Maddie! He's gotta be damn sure
if he doesn't I will kill him, so just back off!"
[She shuts her eyes for a moment, then turns and stares out the car window.]
Bobby: "Hell, I'm doing everything I can for you."
[She doesn't respond but continues to look out the window.]
[NEXT SCENE: Frank and Peter are on the road making their way to Gilroy's
house in Missouri. Peter is driving as Frank reads some papers in his hands
which Peter has provided him with.]
Frank: "You have to appreciate Jim Gilroy's discipline
-- a man of his impulses, able to keep quiet these past
five years."
Peter: "He wasn't unknown to local PD but, uh... he
never broke a law."
Frank: "He was facing multiple murder charges --
capital punishment. He'd gone underground successfully.
Why risk it?"
[They both look at one another. Neither one has an answer to the question.]
HASKEL RESIDENCE
3:06 PM
[Later, Frank and Peter arrive at the Haskel residence. Several state patrol
cars are at the scene. They walk up to the open front door and are met by an
officer.]
Officer: "Can I help you, gentlemen?"
Peter: "We're expected, officer. Is Captain Bigelow
inside?"
Officer: "Yes, sir."
[He nods and steps aside, allowing them entry into the house. Peter enters
first.]
[Inside, several officers are searching through the house, taking photographs,
etc. Peter and Frank enter the living room where they see a large screen TV
-- 45" or greater -- against one of the walls. The officer taking the photos
has finished his work. Another officer can be seen speaking with the captain
who turns and faces Peter and Frank when he notices them.]
Bigelow: "I'm Captain Bigelow, Missouri State Police."
Peter: "Peter Watts. This is Frank Black."
[Bigelow and Peter shake hands as Frank walks around the room, looking at
things.]
Bigelow: "You know this guy, Jim Gilroy, who shot my
trooper?"
Peter: "We know him by another name, but yes, Frank
pursued him while working at the F.B.I."
[Frank walks over and looks out the window next to the TV.]
Bigelow: "How violent is this fugitive?"
Peter: "He murdered three women in Virgina over a
Labor Day weekend. The funerals were closed casket.
The morticians were unable to satisfactorly reconstruct
the bodies."
Bigelow: "He won't get away from us."
[Frank turns back to look at the TV screen. He sees something there so he
turns on the TV and there is a solid blue screen.]
Frank: "You see this? Scratched on the TV."
[Letters can be seen on the screen: `Angel']
Bigelow: "What the hell does that mean?"
Frank: "I don't know."
[Frank then can be seen climbing the stairs to a bedroom. He closes his
jacket, snapping it shut, as he enters the room.]
[He looks around the room -- at various items strewn across a dresser with a
vanity mirror: necklaces, overturned bottles, a comb, a hairbrush, photos.]
[He notices another mirror in the room. This one is full length and hangs on
the wall. It is shattered and a couple of the pieces are missing. He looks
more closely at it. We see him reflected in the mirrored. Then he moves off,
the mirror itself comes into focus and we see what he has been staring at:
there are blood stains on the mirror near one of the missing shards.]
[Still reflected in the mirror, but from a different angle, we see Frank
leaving the bedroom, walking down the hall and entering the bathroom.]
[He pulls on a rubber glove, crouches down beside the bathtub and runs his
finger along a stain in the tub. He stands up and looks at his fingertip in
the sunlight streaming in from the adjacent window. It looks like blood. He
looks up and catches his own reflection in the medicine cabinet's mirror. It
triggers a vision.]
[{He sees: Maddie's mother, Killean Marie, overwrought, crying, and looking
at herself in the same bathroom mirror; then she is looking at herself in the
bedroom mirror before she pounds her fist against it, shattering it; a faucet
is turned on, water pours into the bathtub; Gilroy's face is reflected in
a mirror shard, same shape and size as the missing piece from the bedroom
mirror, which he is holding in his hand; he then moves his hand which still
holds the mirror shard and still reflects his image -- he seems to be handing
it to... Killean, who is kneeling beside the tub, her arms resting on its
rim; an extreme close up of her face, then of the broken mirror which she is
holding upright in her hand -- it is narrow and pointed like a knife; several
blurred images of her face and eyes; a close up of the shard cutting into her
wrist and of blood; a close up of her eyes again; a close up of the shard,
her wrist, and the blood; it begins to drip off to one side; a flash of
bright white light; a close up of her mouth; then of the blood as it drips
and falls from her arm; blurred images of her face; a large amount of blood
drips along the side, down into the tub and mixes with the water from the
still running faucet -- the shard can be seen through the blood and water
on the floor of the bathtub; and a final flash of white light. He hears the
mirror break as Killean strikes it with her fist, then he hears her sobs
throughout.}]
[Frank leaves the bathroom, turns and heads down the hall again, stopping at
Maddie's bedroom.]
[He looks inside and sees several small dolls sitting in a chair. Some small
framed photographs and a lamp are on a nightstand. He then looks over at her
bed. It is unmade and covered with splatters of blood. Captain Bigelow steps
up behind Frank.]
Frank: "There's blood residue in the bathtub."
Bigelow: "A woman died here recently. Unrelated to
this, as far as we know."
Frank: "Who?"
Bigelow: "Killean Haskel. She bled to death in the
bathtub. They buried her yesterday."
Frank: "A suicide."
Bigelow: "That's what the coroner concluded."
Frank: "You might want to reconsider that."
[Frank enters the bedroom. Bigelow follows him. Peter can be seen standing
in the hallway, looking into the bathroom.]
[Frank begins looking at some of the items in Maddie's room. He picks up
a small photo album, carefully handling it only by its edges. He opens and
looks at some of the photos. There are several black and white images.]
[The first is of Killean with her husband, John Haskel. It looks like a prom
night photo. A second photo on the opposite page, is of John Haskel.]
[Frank turns the page.]
[A partial view of the upper photo on the page is of Killean smiling. The
lower image is of John smoking a cigarette, sitting on a boulder by a stream
or lake. Both are in color.]
[Frank turns and shows the photo to Bigelow.]
Frank: "Is this Killean Haskel's husband?"
Bigelow: "Must've been. She was divorced, as far I
as I know."
Frank: "Did she have any children?"
Bigelow: "Yeah, a daughter. Madeline Haskel, 20 years
old. She lived here, too."
[Frank looks at a photo on the opposing page.]
[It is of John holding a small girl in his arms -- Maddie, as a child. It is
in black and white.]
Bigelow: "We haven't located her yet."
Frank: "Hmm."
[Frank seems puzzled. He turns to look at the blood splattered on the bed.
Peter enters the bedroom.]
[Frank has another vision.]
[{He sees: Gilroy straddling Maddie on top of the bed; Maddie is screaming:
`No! Stop it! No!'; Gilroy likes his fingers.}]
Frank: "Has this blood been typed and crossed-matched?"
Bigelow: "We assumed it was the mother's. I'll get a
tech to take a sample."
Frank: "I think it's important we find the daughter."
[Peter nods in agreement.]
Bigelow: "She involved?"
Frank: "An inordinate amount of violence and suffering
has occurred in this house. She might know something
that could help us."
[NEXT SCENE: Night, outside a diner. We hear Maddie's narration of one of
the many letters she's written to Angel. The camera slowly moves in closer
to the diner where we can see Bobby and Maddie sitting at the counter through
the window.]
{Maddie: "Dear Angel, I was just thinking today of
Mama -- how she had the softest, quietest voice you
ever heard, like a willow in a breeze. In church,
when she sang, people standing around her would hush
just to get a better listen. I can't help thinking
how sad this all would have made her."}
[Perspective shifts to inside the diner. Bobby is eating as Maddie continues
to reflect on her life and narrate the unsent letter to Angel.]
{Maddie: "She never liked Bobby much and, for whatever
reason, I fell in love with him. He paid attention
to me, made me feel pretty... "}
[She watches him eat, but eats nothing herself. She shakes her head and just
continues.]
{Maddie: "Saw him sitting on the hood of his Firebird
late one summer night in high school. He was one of
those types of people who acted fearless, like he had
a secret. I never had secrets."}
[She opens up her wallet, pulls out a photo of her mother and looks at it.]
{Maddie: "Mama had a hard life. Guess I'm kind of glad
you weren't around to see her hurt like she did. I'm
not saying this like it's an excuse for anything that
happened... just that, well, I never wanted to be one
of those people that gets too used to being sad. That
must sound funny coming from me. Love, Maddie."}
[She turns and looks out the diner window.]
[The scene fades into the next. It is later that same night. They are both
in the car and drive to an isolated area. Bobby pulls the car over to one
side and parks. He steps out of the car and has a shotgun in his hand. He
walks to the rear of the car, unlocks the trunk with a key and opens it.]
[Inside, Gilroy looks up at Bobby. His head is covered with blood from the
blow earlier.]
Bobby: "Where is he?"
[Gilroy does not respond.]
Bobby: (repeats) "Where is he?"
[Bobby looks up, then hits Gilroy with the butt of the shotgun. Gilroy lets
out a grunt. Maddie can be seen sitting still inside the car, listening. She
covers her ears when she hears the blow and the groan. She shuts her eyes
tightly.]
Bobby: "Answer me."
[Gilroy groans again.]
[Maddie remembers a childhood birthday and... ]
[{She sees: her parents walking towards her, Killean holds a birthday cake
in her hands, both are smiling; the cake has a six lit and a seventh one in
the shape of the number `6' which is also lit.}
{Killean: "Happy birthday, sweetie."}
{John: "Happy birthday, Maddie."}
[She can still hear Bobby shouting at Gilroy outside. She covers her ears
even harder, holding onto the birthday memory.]
{Killean: "Make a wish."}
[{The candles are blown out.}]
[Outside, the beating continues. Inside, Maddie still covers her ears with
her hands.]
Gilroy: (shouts) "Stop! All right! I'll tell you!
I'll tell you!"
[Maddie begins crying.]
--------- commercial segment ---------
[Trademark music cue as the scene fades in from white... ]
MISSOURI STATE POLICE BARRACKS
JOPLIN, MISSOURI
10:03 PM
[Outside, night. The building can be seen as several officers enter and exit.
Traffic moves along in front of the building.]
[Inside, several officers, U.S. marshals and others, go about their work.
At a table in the middle of the room, Peter sits before a computer. Bigelow
and Frank stand behind him, looking at the screen. They are watching a video
of the shooting of the trooper. A hidden camera had recorded the incident
from inside the trooper's car.]
Bigelow: "Trooper took the proper approach. He did
everything accordingly, but he never saw the gun.
Been over it a hundred times."
[The computer screen is shown and the video is running. There is a date/time
stamp on the lower left hand corner. It reads: `23:18 1-17-1997' There is
no audio. We see the trooper as he approaches the driver's side of Gilroy's
vehicle as well as the tag number on the license plate: `RH7-487.']
Frank: "Stop it there. Pan right."
[Peter hits the `P' key on the keyboard several times, moving the image to
the left and centering the right hand portion of the screen.]
Frank: (to Bigelow) "Do you have your report here?"
[Bigelow hands Frank a folder.]
Bigelow: "That's a complete forensic rundown from the
scene, including ballistics."
[Peter runs the video again. It advances a little further this time till
just after the shooting and the trooper is thrown backwards from the impact.]
Frank: "Stop there."
Bigelow: "Killer used armor-piercing rounds."
Peter: "Penetrated the vest just enough to cause death
by hydrostatic shock. His internal organs were destroyed
by the shockwaves from the impact."
Frank: "Know what's wrong about this M.O., Peter?"
Peter: "Jim Gilroy never used a gun."
Bigelow: "How'd he kill those women?"
Frank: "Garroted. Cut."
Peter: "Wait, I'll enlarge it."
[He hits some more keys and zooms in several times on the image, focusing
on the rear windshield.]
Bigelow: "What are you trying to say? Are you saying
Jim Gilroy is not the killer?"
Frank: "The man you know as Gilroy, is the man we
know as Jake Waterston. He's not an unintelligent
man. He's neither rash nor careless. He had no reason
to believe his new identity was being threatened. He
wouldn't act impulsively."
[Peter runs the video again. An extreme close up of the passenger side of
car now fills the screen. Something can be seen briefly moving inside the
car.]
Frank: "Go back."
[Peter rewinds the clip. The movement can be seen again. Frank points to the
screen.]
Frank: "Did you see that?"
Peter: "Movement. Something picked up the light."
Bigelow: "I'm not sure I see it."
[Peter rewinds the clip and runs it again.]
Frank: "Someone's sitting in the passenger seat."
Bigelow: "Gilroy."
Frank: "Gilroy's 6'2". That person's much smaller."
[Frank takes a look at the report as Peter runs the clip once more.]
Frank: "The crime scene report describes two different
blood samples taken at the scene."
Bigelow: "One was the trooper's -- B-negative. The
other's A-negative."
Frank: "The second sample, the A-negative, that's
Gilroy's blood type."
[Peter nods.]
Frank: "There was no evidence that Gilroy was wounded
at the shooting."
Bigelow: "We considered he may have been injured
earlier."
Frank: "I'm not sure that Gilroy's behind the wheel."
Bigelow: "Who's the passenger, then?"
Frank: "It could be... the daughter, Maddie Haskel."
Peter: "Hmm."
Bigelow: "If Jim Gilroy isn't driving the car and he's
not the passenger, then where the hell is he?"
[Trademark music cue... ]
SPRINGDALE, ARKANSAS
12:15 AM
[NEXT SCENE: Night. Bobby and Maddie drive down a dark road. They turn onto
a private road past a mailbox with a name printed across it: `NESMITH.']
[Inside the car, Bobby reaches into his pocket for a bullet, puts it into
an empty chamber in the gun as he continues to drive. Fully loaded, he flips
the cylinder back into place. He stops the car, reaches over to a sleeping
Maddie beside him, and nudges her awake.]
Bobby: "Maddie, wake up. Wake up."
[She opens her eyes and looks at him.]
Bobby: "We're here."
[NEXT SCENE: The Black residence. Catherine in bed reading a book. Jordan
is sound asleep beside her. The phone rings. She removes her eyeglasses and
picks up the cordless phone from the bed, switching it on.]
Catherine: "Hello."
Frank: "Hi, it's me."
[Perspective shifts to Frank who is phoning from a motel room.]
{Catherine: "How are you, sweetheart?"}
[Some photos from the Haskel bedroom can be seen spread out across Frank's
bed.]
Frank: "Good, tired. Just calling to say goodnight.
Jordan asleep?"
{Catherine: "She tried to stay awake for your call."}
[Frank sits on his chair and leans back.]
Frank: "I'm sorry."
{Catherine: "How's it going?"}
Frank: (unconvincingly) "Fine."
[Perspective shifts back to Catherine and alternates between the two during
the remainder of the phone conversation.]
Catherine: "You have to do better than that."
Frank: "Just frustrated. A local officer was killed.
Situation's very tense."
Catherine: "Do you have a suspect?"
Frank: "Local PD think they do, but I disagree."
Catherine: "Why?"
Frank: "I came down here looking for a man I've chased
before, but... something else is going on. Another
crime is being committed, maybe."
{Catherine: "You're in this guy's head pretty deep,
then?"}
Frank: "No, somewhere else. There's a young woman
involved."
[Catherine can be seen listening carefully to Frank as he speaks.]
{Frank: "I believe she's with the killer, but an
innocent."}
Catherine: "Why is she with him?"
Frank: "That's what I need to know."
Catherine: "Get some sleep, Frank."
Frank: "Hey, I love you."
Catherine: "Me too. Talk to you tomorrow."
Frank: "Yeah."
[He hangs up the phone and looks through several smaller photographs he's
been holding in his hand during the phone call home.]
[NEXT SCENE: Outside, the Nesmith residence. The Nesmiths' pet dog is barking
and he's chained to the front porch. It is raining heavily and thunder can be
heard. The exterior of the house can be seen as the dog continues to bark in
the direction of Gilroy's car which is parked behind the Nesmiths' red pickup
truck.]
[Inside, the dog's barking awakens the Nesmiths who are both in bed. Mr.
Nesmith turns on a lamp on the nightstand beside the bed.]
Mrs. Nesmith: "What's got into Lottie?"
Mr. Nesmith: "Ah, no idea."
[He gets out of bed and goes downstairs. He walks over to the front door,
pulls back the curtain and raps on the glass.]
Mr. Nesmith: "What the sam hill are you barking at,
girl?"
[The dog stops barking.]
Bobby: "Me."
[Sound of thunder. Nesmith turns to find Bobby pointing the gun at him. He
also shines a flashlight at his face, making it difficult for the man to see
without squinting.]
Mr. Nesmith: "Who are you? What do you want?"
Bobby: "Where is he?"
Mr. Nesmith: "Who's who? How'd you get in here?"
Bobby: "Don't move. Just tell me where he is and I'm
gone."
Mr. Nesmith: "I don't know what you're talking about,
but you get the hell out of here, right now!"
[He moves towards Bobby.]
[Perspective quickly shifts outside and to Maddie's POV from inside Gilroy's
car.]
[She sees the flash and hears the discharge from the gun as it is fired. She
jumps at that instance and the dog begins barking again. Mrs. Nesmith calls
out from upstairs.]
Mrs. Nesmith: "Fred! Fred!"
[Perspective remains with Maddie outside in the car. She continues to stare
at the house. Then briefly moves her eyes, looking about. Mrs. Nesmith shouts
some words but they are muffled, incomprehensible. Then she screams. Maddie
looks up at the second floor bedroom sees another flash and hears a second
shot fired, then a third. She jumps both times and cringes.]
[The dog has been barking since the shootings began, then, finally quiets
down, never taking her eyes from Gilroy's car.]
[Then Bobby comes out from the house and returns to the car.]
Maddie: (angrily) "What'd you do?"
Bobby: "Nothing."
Maddie: (shouts) "Tell me, tell me, tell me!"
[She begins hitting his shoulder.]
Bobby: (shouts) "Shut up! Shut up! Don't make me hit
you, Maddie!"
[She begins crying.]
Bobby: "Maddie, He wasn't there! He wasn't there."
[He holds her hand, preventing her from hitting him further and tries to
calm her down.]
Bobby: "Gilroy lied to us."
[She hits him once more to move him away from her as she continues to cry.]
[Later, Bobby opens the trunk. He and Maddie look down at Gilroy.]
Bobby: "Truth or dare, brother. Tell us where to find
Angel. And this time, it better be the truth."
[Bobby pulls the gun out from his waist and points it at Gilroy's groin. He
cocks the hammer.]
Bobby: "Don't be brave, man. Be smart. Where is he?"
Gilroy: (weakly) "Ah, you're gonna kill me either
way."
Maddie: "Just tell us where he is... " (shouts)
" ...for God's sake!--- "
[She rushes over, grabs Gilroy by the collar and begins shaking him.]
Maddie: "Tell us where he is!"
Gilroy: "Get her off me!"
Maddie: "Please!"
Gilroy: "Get her off me!"
Maddie: "Tell us where he is!"
Gilroy: "Get her off me!"
Maddie: "Tell us where he is!"
[Bobby grabs Maddie and pulls her off of Gilroy. She shoves him away from
her.]
Bobby: "Maddie, getting hysterical, that ain't gonna
help!"
[He again points the gun at Gilroy, this time at his heart.]
Gilroy: "Ah, wait. Wait. I'll tell you. I'll tell
you."
[Gilroy groans.]
[Later, Bobby starts pushing the car into a lake as Maddie again narrates
another letter to Angel.]
{Maddie" "Dear Angel. I was at church Easter Sunday
and the minister was talking about the mystery of
faith -- how easy it is to doubt what you can't prove
and how even though none of us saw the miracle in the
Lord's tomb that day, all's we had to do is believe
in it hard enough and it would be true... and that's
what faith was."}
[The car begins to go under, helped along by gravity.]
{Maddie: "He said that we can't be weak, that we
can't dismiss the miracle, that we have to be strong
enough to make mysteries real."}
[Bobby looks over at Maddie who is again crying.]
{Maddie: "How I wished you had been sitting there
with me that day. I can't see you. I can't touch
you. But you're always in my heart. Love, Maddie."}
[The car is nearly completely submerged.]
HASKEL RESIDENCE
1:30 AM
[NEXT SCENE: Outside. All is still. Inside, Frank has returned for another
look at things. No lights have been turned on. He uses a flashlight to guide
his way around the house.]
[He enters the bedroom and heads for the dresser, picking up the photo album
again. He flips through the pages with his left hand, glancing quickly at
several of the photographs. He leaves the album on the bed. He looks at a
row of books behind the bed's headboard. All are children's books. He then
comes upon a red high school yearbook. Its cover reads: `WEST HIGH SCHOOL.'
He picks it up, as well as a blue yearbook underneath it and sits down in a
rocking chair to look at them both.]
[He opens the red yearbook first and looks at a page filled with students'
photographs and a banner that runs vertically along the left side of the page
with the letters: `ESL.']
[On the opposing page, there are more photographs and a title which reads:
`Pre-Employment.' Under these items is another title: `Undergrad Poll: Grade
11' and the results of the poll which reads as follows: ]
GIRLS BOYS
BEST LOOKING Sara Johnston Greg Drazenovic
BEST DANCER Elizabeth Wagner Dave Park
BEST DRESSER Samantha Levy Daniel Chan
MOST ATHLETIC Tara Cadman Dave Juarez
[Frank turns the page and quickly looks at several photos of boys and girls
until he finds Maddie's picture between a boy and another girl. Presumably
this is the yearbook from Maddie's junior year in high school. The caption
at the left of the photos reads: ]
Erik Gerlund
Maddie Haskel
Kari Hook
[He then opens the blue yearbook, presumably from Maddie's senior year in
high school. He quickly turns the pages.]
[One that we see on screen shows several students' photographs in a number
of rows. Only two of the students' names can be seen: `Lipiner, Lisa' and
`Liu, Juanita.' Underneath this, is a small heading which reads: `WHAT CAN
BE DONE TO HELP SOLVE ENVIRONMENTAL PROBLEMS?' There is a quote from someone
listed as `Anonymous' but only part of it is visible on screen: `(You don't
get government... against environmental... )']
[He turns to another page and finds several pictures, including Maddie's.
There is another girl's photo but no name is visible and there is a boy's
photo: `Erik Gerlund.' Another boy's photo is only partially visible but his
name is seen: `Ross Framo.' Beneath Maddie's photo and name is a hand-written
inscription which reads: ]
Dear Maddie .
see you right after
BASIC TRAINIng
- then you're mine .
Love
Bobby W .
[He then turns several pages, quickly checking the names of all the students
for someone matching the name: `Bobby W.' There is a close up of a page and
four quotes from four students can be seen with their photos and names. Some
are only partially visible.]
[The first is a girl's quote, picture is partially visible but her name is
not shown. It reads: `This year has lost leaves and litigations... but gotsa
move on. So Tulip, Juane, Seattle? Ya know. Ya know! Moms, pops, kids...
THANX. Me digs, but gotta roll. Time for music.']
[The second is of a boy: `DEAN WALKER.' His picture is visible and his quote
reads: `Thanks to all my friends at West High who have made my 365x5 days so
memorable and colorful. EMc friends, summer. Special thanks to Vanessa. Good
luck grads, and master your life!']
[The third is of another boy whose picture is not visible. His name is: `BART
WEAR' and his quote is only partially visible. It reads: `Thanks to all who
made my life at West High so memorable. Special thanx... ']
[The fourth and final photo and quote are of `ROBERT WEBBER' `Being all I can
be.']
[As Frank turns the yearbook over, several envelopes fall out onto the floor.
He picks them up and looks at them. All have stamps on them. The first one
is handwritten and simply addressed to: `Angel Haskel.' It bears a 22-cent
stamp and is unsealed. He removes a handwritten letter on printed stationery.
Maddie narrates the letter as Frank reads it and we see it on the screen.]
{Maddie: "Dear Angel, I never told you about the night
you left. I'd gone out for grocieries and when I came
home you were gone. I was terrified. I was lost. I
couldn't get a straight answer out of anybody. I must
have driven for hours looking for you, but there was
no sign. I got tired and I kind of gave up. I'm sorry.
I'm sorry I gave up on you that night. Please forgive
me."}
[He opens another letter. This one is dated: `December 24.']
{Maddie: "Dear Angel, It's Christmas Eve. I remember
when I was ten years old and I caught momma putting
presents under the tree. Broke my heart. Believing
in Santa was the last bit of little kid mystery left
in the world. I'm looking up at the dark, winter sky
right now, wishing that weren't true, wishing that
old guy in the red suit would bring you home. I miss
you so much. I got to go. He hates it when I write
to you... I can hear him coming up the stairs."}
[Frank looks up at the door to the room, then turns and shines the flashlight
on the blood-stained sheets on the bed. It triggers a series of images.]
[{He sees: several close up images of Gilroy's eyes, bathed in a yellow light;
Gilroy walking into the bedroom, drinking from a bottle of gin; an extreme
close up of Gilroy's hand on the bottle; several close ups of Gilroy holding
something near or placing something into his open mouth -- could be a thin
hand-rolled cigarette or a toothpick; then several close up images of him
drinking again, bathed in a very bright white light; finally another close
of up his face looking directly at the camera. He hears the sound of a gun
shot, panting and a quickened heart beat.}]
[Frank then hears footsteps, stands up and walks towards the door. It is
Peter who shines a flashlight on him and enters the bedroom to join him.
Peter: "Anything?"
Frank: "Just some letters that were never sent."
Peter: "Who's the adressee?"
Frank: "I think they're to her father."
Peter: "Records show the father's name is John Haskel.
Spilt long ago."
Frank: "He left some deep wounds."
Peter: "Maybe that's where they're headed."
Frank: "Maybe."
[They both hear a car pull up outside. Through the window, we can see that
it is a police vehicle with its lights flashing. Frank and Peter go out to
meet with Captain Bigelow.]
Bigelow: "We located Jim Gilroy's car."
Frank: "Where?"
Bigelow: "Two hours south of here in Springdale,
Arkansas."
[Later at the lake, a man in scuba gear prepares to attach a cable to the
rear bumper of Gilroy's car in order to retrieve it from the water. Another
man assists him.]
[As Frank, Peter and Bigelow arrive, we see several other police vehicles
already at the scene. They walk past the truck with the winch and approach
Trooper Flanagan.]
Flanagan: "Got a call from the caretaker. He was, uh,
coming by to drop off some fertilizer."
Frank: "How long ago?"
[Frank walks closer to the water's edge and looks out onto it.]
Flanagan: "Three hours ago. Maybe a little more."
[He turns suddenly and... ]
Frank: "Get it out of there."
Flanagan: "What's the rush?"
Man: "Crank it up, Roy! Come on!"
[They hoist the car slowly out of the water. Two troopers pry open the trunk
with crowbars. Water flows out as Gilroy gasps for breath.]
Frank: "Jim Gilroy."
[Gilroy tumbles down onto the ground.]
Flanagan: "Get a stretcher over here!"
Peter: (to Flanagan) "Where's the main house from
here?"
Flanagan: "About a hundred yards over there, but
there's nobody home."
Peter (to Frank): "They're dead, aren't they?"
Frank: (nods) "Yeah."
Bigelow: "We're right back where we started."
Frank: "No. Now, we have someone to talk to."
[He and Peter head back towards their car.]
[ELSEWHERE: The Nesmiths' pickup truck can be seen parked somewhere isolated.
Inside, Bobby and Maddie sit quietly. He strokes her hair and continues to do
so as he speaks to her.]
Bobby: "We're going to find him. You happy?"
Maddie: "Yeah."
[He reaches over and kisses her on the cheek. She tries to push him away but
he's all over her.]
Bobby: "Then prove it."
[He pulls her to him and kisses her on the lips.]
Maddie: "Bobby, no! Bobby! Stop it! No!"
[She tries to fight him off but does not succeed.]
Maddie: "Bobby! Stop, please!"
[Perspective shifts to outside the truck. We continue to hear her in the
background for a bit, then we hear Maddie in voice over.]
{Maddie: "I've never been clear on why they call it
`making love.' Every time I let Bobby have me, it
felt more like... like, `making peace.'"}
[Perspective shifts to Maddie, continuing her narrative, with her eyes shut.
She is speaking to someone else in the room with her.]
Maddie: "You know, killing... killing time -- a few
precious minutes to myself."
[She opens her eyes.]
Maddie: "I found out my real dad had hit my mom a
couple times. Then she took up with Jim and he just
hit her more often."
[She becomes emotional but struggle to maintain her composure.]
Maddie: "I can't stop blaming myself for what happened
to my mom. Wh- when she found out what Jim had done
to me, she just... she couldn't live with it. I know
I'm guilty for letting what happened happen. If I
didn't stay in that car... I knew I'd never see Angel
again."
[NEXT SCENE: A guard unlocks a door and allows Frank to enter an area which
leads to an infirmary cell consisting of a see-through steel mesh screen.
Frank looks into the cell and listens to an interrogation that's already
underway.]
[Inside the cell, Jim Gilroy lies in a hospital bed. Bigelow and Flanagan
are present and are asking him questions.]
Gilroy: "I ain't talking."
Bigelow: "Who put you in the trunk?"
[The guard then unlocks a gate to the cell, steps aside to let Frank pass
through, then steps back out and shuts the gate, locking Frank inside the
cell.]
MERCY HOSPITAL JAIL WARD
2:37 AM
Gilroy: "I don't remember."
Flanagan: "You know who killed the Nesmiths?"
Gilroy: "Never heard of them."
Flanagan: "They were the people that lived on that
farm."
Gilroy: "I don't know nothing. I was in the trunk,
remember?"
[Gilroy's face is covered with bruises from the beatings Bobby gave him. His
left eye is swollen shut.]
Bigelow: "Why'd they try to kill you?"
Gilroy: "Hey, can I get a soda or something?"
[Frank joins in on the interrogation.]
Frank: "Who was Maddie riding with?"
Gilroy: "What's that?"
Frank: "You know who she is."
[Gilroy stares straight ahead of him, trying to avoid making contact with
Frank's eyes.]
Gilroy: "No, I don't."
Frank: "I know *you*."
Gilroy: "Really?"
Frank: "You used to live at 898 Gadsden Place, Newport
News, Virgina. You worked at a mill by the docks.
Drove a '73 Impala. Your name is Jake Waterston and
you killed three women there."
[Gilroy looks at Frank out of the corner of his eye.]
Frank: "So you have no reason to lie."
[Gilroy shakes his head, then chuckles lightly to himself and finally smiles
broadly before becoming serious again.]
Gilroy: "I want to help you. Really, I do. They beat
me, left me in the trunk. Wasn't for that air pocket,
I'd be dead. You think of that?"
Frank: "Yeah, but not the way you do. Who's riding
with Maddie?"
Gilroy: "The little ditchweed was with her boyfriend,
Bobby Webber."
Frank: "Why did Webber assault you?"
Gilroy: "'Cause I wasn't ready for him."
Frank: "What did you do to Maddie?"
Gilroy: "Nothing."
Frank: "You killed her mother."
Gilroy: "Killean was a hothead. She committed suicide."
Frank: "You let her. You watched. You perpetrated
the abuse on Maddie."
[Frank hears the outer gate open and the sound of the guard's keys. He looks
over and sees Peter, then turns back to ask a final question.]
Frank: "Who's `Angel?'"
[Gilroy does not respond. He turns his face away from Frank.]
[Frank, knowing that he's gotten all that he will from Gilroy, walks over
to speak with Peter through the screened cell wall. He turns to look back
at Gilroy before whispering to Peter so that he won't be overheard.]
Frank: "What do you have, Peter?"
Peter: "I've located Maddie's father."
Frank: "Where?"
Peter: "He was an inmate at the Fond Du Lac Correctional
Institute for men in Waupan, Missouri. He died there
a year ago."
Frank: "Where's he buried?"
Peter: "No one claimed the body. The Department of
Corrections leases some plots in a potter's field
area near the prison. Grave is unmarked."
[Frank nods.]
Peter: "So, either she doesn't know that her father
is dead, or she- "
[Frank finishes the thought for Peter.]
Frank: " ...she's after something else."
[NEXT SCENE: Night, the Nesmiths' pickup truck is seen driving along a dark
stretch of road. Bobby drives as Maddie is asleep beside him.]
[MEANWHILE: Frank steps outside the hospital and sighs deeply. He's joined
by Peter who grins before speaking.]
Peter: "The Newport News, Virginia D.A., sends his
best. He's starting extradition precedings in the
morning to get Waterston back for trial. He didn't
get away this time, Frank."
Frank: "This isn't finished, Peter."
Peter: "You take away her father as a destination,
that doesn't leave much."
Frank: "She knows he dead. She wrote half a dozen
very intimate, very personal letters to him, yet she
stayed in the car watching the violence that she's
seen all her life."
Peter: "Were any of the letters written after his
death?"
Frank: "Yeah, but the language was present tense --
almost a confession, or an oral history to him, or... "
[He stops in mid-sentence, thinks he's figured it out and looks at Peter.]
Peter: "What is it, Frank?"
Frank: "I need Maddie Haskel's medical records. I
think I know what she's after. I think I know who
`Angel' is."
--------- commercial segment ---------
[Trademark music cue as the scene fades in from white... ]
[NEXT SCENE: Daybreak, the Nesmith's pickup drives along another road. It
passes a road sign which reads: `LITTLE ROCK 20 MILES.']
ARKANSAS STATE
POLICE HEADQUARTERS
6:28 AM
[Outside the building. Inside, Peter sits at a desk, looking through some
papers. Frank sits on the edge of the desk, doing the same. Bigelow walks
over to them both.]
Bigelow: "Anything yet?"
Frank: "No."
Bigelow: "No sign of that pickup on the wire. They're
long gone."
[Frank reaches for a folder beside him and looks at a number of documents.
The first one reads as follows: ]
UNITED STATES POSTAL SERVICE
v. NO: 95-10208 Y
JASON RALSTONE P
O
C
MOTION FOR ISSUANCE OF SEARCH WARRANT
On October 25th, 1995 a warrant was issued by this court
for violating the Title Fraud United States Code, Section 1093
(Part II). The victim of this crime is JASON RALSTONE and will
here after be refered *(sic)* to as case No. 95-10208.
The state of Washington originally obtained warrants for
the defendent's arrest, but is now in the process of dismissing
them. The government therefore moves the court to dismiss issue a
warrant for the arrest of the defendent in order that...
could be apprehended.
[The second one is a birth certificate. It reads: `THIS CERTIFIES THAT ANGEL
HASKEL WAS BORN IN ST. MARY'S HOSPITAL.' The date is: `July 14.' The baby's
footprints are also on the certificate.]
Frank: "Peter."
Peter: "What do you have?"
[He sits down beside Peter and shows him the birth certificate.]
Frank: "Maddie Haskel gave birth to a baby boy in
St. Mary's Hospital in Joplin, one year ago."
Peter: "The father, unspecified. What happened to this
baby?"
[Frank shakes his head and looks at Peter.]
Frank: "Can we access Jim Gilroy's bank records from
here?"
Peter: "Yeah. I just need a phone line."
[MEANWHILE: Bobby and Maddie are still on the road, traveling towards their
next destination. She stares out the window.]
Maddie: "Go faster."
Bobby: "What are you going to say to him when you see
him?"
Maddie: "I don't know."
[MEANWHILE: Gilroy's bank records scroll on a laptop computer's screen. Peter
sits at the keyboard and states his findings for Frank who is looking on.]
Peter: "Gilroy maintained a fairly erratic bank balance
over the last couple of years."
[He pauses the scrolling and points to some of the transactions.]
Peter: "Ten months ago, a wire transfer of $7,000 was
made into an account in Gilroy's name."
[Bigelow, following what is being said, moves closer to hear more.]
Frank: "That's two months after Maddie's baby was
born."
[He pauses, then puts the pieces together.]
Frank: "Gilroy took Maddie's child and sold it and
bought himself a TV."
Peter: "It's sick, but it's a motive."
Frank: "That explains why `Angel' was scratched into
the television screen."
Bigelow: (incredulous) "He sold the baby so he could
a TV."
[Trooper Flanagan walks over and stands behind Peter, listening to the
conversation.]
Peter: "He wanted something and... we live in a world
where children have become another form of currency."
Frank: "That explains why she was in that car. Who
transferred the funds to Gilroy's account?"
[Peter traces the transaction on the computer. A box pops up on the screen.
It reads as follows: ]
TRANSACTION DETAIL
DATE 11 OCTOBER 1995
TYPE TRANSFERRED FUNDS (U.S.)
FROM FOYERHEDGHES BANK
ACCOUNT # 111524 BARNARD, RUDOLPH
LLD
TRANS # 5
TO ACCOUNT # 8901232
TRANS # 5038
AMOUNT: $ 7000.00
Peter: "It's from the account of a Rudolph Barnard,
lawyer, lives in Little Rock." (pause) "So, Gilroy
takes Maddie's baby and has this lawyer, Barnard,
broker a deal to sell it."
Frank: "They're still after the same goal... and
anyone left that gets in their way is going to die."
Flanagan: "I'll call Little Rock P.D. and have them
put Barnard into protective custody."
Frank: "Run a check on Barnard's bank records from
the same time period. Hopefully, there would have
been a transfer made by the adopting family. We might
be able to get to them before Bobby does."
[Peter begins a trace on the lawyer's records.]
Frank: "All for the love her child."
8:46 AM
[NEXT SCENE: The pickup pulls into a driveway leading up to a large white
house. Maddie looks up at the house with anticipation. Bobby parks the truck
behind another car already in front of the house. He too looks around at the
house.]
Bobby: "Look at this place."
Maddie: (smiles) "It's beautiful. Angel must love
living here."
[Bobby takes out his gun, opens the cylinder, removes some bullets from his
pocket, puts them into the empty chambers and flips the cylinder into place.
Some flowers are on the seat between he and Maddie.]
Bobby: "Maddie, your boy's just one year old. He don't
know. Let's just go in there, get him, and get out of
here. Now don't forget the flowers."
[He gets out of the truck and heads for the house.]
Maddie: "He must love it here."
[ELSEWHERE: Three police cars, full sirens blaring, drive through the rain
on a road in Little Rock. Peter and Frank follow the procession in another
car.]
Frank: "Have the Travises been called?"
Peter: "Line's dead but Little Rock P.D. is responding
now."
[The vehicles make a right turn as they pass a road sign that reads: `LITTLE
ROCK CITY LIMITS.']
[MEANWHILE: At the large white house, the Travis residence, the door bell
rings. As Wade Travis walks to the front door, there is some knocking. He
peers through the peephole and sees Bobby and a bouquet of roses held near
his smiling face.]
Wade: "Yes?"
Bobby: "Flowers for Mrs. Adeline Travis."
[He unlocks the door but before he can open it, Bobby shoves his way into
the house holding the gun in his right hand.]
Bobby: "Get back!"
[He knocks Travis to the ground and points the gun at Travis' face. Maddie
comes in behind Bobby. She is still holding the bouquet of flowers.]
Wade: "We don't have anything."
Bobby: "I'm sorry mister, but you do. You got Maddie's
boy."
[Wade's wife calls out from upstairs.]
{Adeline: "Who was it, Wade?"}
Wade: (shouts to Adeline) "Lock the door! Stay up
there!"
[Bobby hits Wade across the face with the back of his hand, knocking him
unconscious. He then shouts up the stairs... ]
Bobby: "You better get your ass down here, Adeline!"
[Maddie anxiously looks up the stairs.]
[Adeline comes halfway down the stairs carrying Angel in her arms. He is
crying, afraid. Maddie stares at the boy, open-mouthed.]
Adeline: (frightened) "Who are you?"
Bobby: (angry) "You come down here, now!"
[She hesitates.]
Bobby: "Come on!"
[He gestures with the gun for her to come down the rest of the stairs. She
begins climbing down slowly. Angel is still crying, restless. Maddie has not
taken her eyes off the boy and begins crying too. Adeline looks down and sees
her husband passed out on the floor.]
Adeline: (whispers) "Oh, my God!"
Bobby: "Come on!"
[Maddie gets more emotional and places her hand over her mouth as Adeline
continues down the stairs with Angel.]
Bobby: "Come on, now! Give her the kid!"
Adeline: "No! Why?"
[The anticipation builds in Maddie and she begins to crack a smile at the
thought of holding Angel in her arms.]
Bobby: "Because he's hers! You stole him!"
[Angel becomes more frightened.]
Adeline: "No! We adopted him!"
Bobby: "Don't lie to me! Don't lie to me!"
Adeline: "It was legal! I have the papers!"
Bobby: "Give her the damn boy, now!"
[Maddie walks closer to Adeline. Angel continues to wail as Adeline tries
to comfort him. Maddie cries again and finally, a sobbing Adeline hands the
boy to Maddie who takes him into her arms and speaks softly to him.]
Maddie: "Hi, Angel! Shhh! Mommy's right here. That's
right. Shhh!"
[She strokes his head, trying to calm him.]
Bobby: "Come on, Maddie. Let's go."
Adeline: "Please... "
Maddie: "Have you been a good boy, baby?"
Bobby: (insists) "Come on, Maddie."
[Angel turns to look at Adeline. Maddie tries to get the boy's attention by
turning his face towards her own.]
Maddie: "Aw, look how big you got. And you have your
granddaddy's big eyes."
[Angel continues crying, terrified. Maddie hugs the boy, trying to quiet his
fears. Adeline watches them.]
Bobby: "Maddie. Now."
[Maddie kisses her son, then holds him away from her and towards Adeline.
She hands the boy back to Adeline who gratefully takes him.]
Adeline: "Oh, thank you!"
Bobby: (to Maddie) "What the hell are you doing?"
Maddie: (in tears) "Angel belongs here, Bobby."
Bobby: "Not after all this, he doesn't!"
[He starts towards Adeline and the baby. Maddie blocks the way.]
Maddie: "Come on, let's just go."
[He continues past her and she again blocks him.]
Maddie: "Bobby, no!"
[He punches her in the face, knocking her to the floor.]
[He hears the sound of cars approaching the house. He moves to the window,
pulls aside the curtain and looks outside. He sees two Arkansas police cars
pull up.]
[Outside, the officers from both vehicles get out, draw their weapons, take
cover and aim at the house. One of the officers uses a bullhorn to make an
announcement.]
{Officer: "This is the Little Rock Police Department."}
[Just arriving as well are Frank and Peter.]
[Inside, Bobby turns back to Maddie who is crying on the floor.]
Bobby: "See what you done? You see what you done?"
[He looks up at Angel in Adeline's arms and has an idea.]
Bobby: (to Maddie) "They won't shoot if I walk out
holding the baby." (to Adeline) "Give me the kid."
[Adeline inches her way up the stairs. Bobby follows. His gun is visible
sticking out from the back of his pants' waistline, under his jacket.]
Bobby: "Give me the kid! Give me- "
[Maddie reaches up and grabs Bobby's gun and points it at him. Her lip is
bleeding from the punch Bobby gave her.]
[He turns and looks at her. He doesn't believe that she'll shoot him. He
grins and moves towards her.]
[Outside, the officers are in position, waiting, when they hear a gun shot.]
Officers: "Shots fired! Shots fired!"
{Radio: "Unit 9, you are code 10 until further... "}
[Maddie door opens the door slightly and looks outside. All of the officers
are pointing their weapons at her. Frank rushes out towards the house.]
Frank: (shouts) "Ho! Ho!"
[Maddie watches him as he approaches the house. He cautiously walks up to the
door, looking at Maddie, pushes the door wide open and looks inside. Maddie
offers no resistance. She appears to be in shock.]
Frank: "It's over, Maddie."
[Frank takes the gun from her hand. He looks inside again and we see Adeline
and Angel sitting beside Wade. He has his arms around his family. And Bobby
lies dead at the foot of the stairs.]
Frank: "That's Angel?"
[She looks at the boy and smiles.]
Maddie: "Yeah."
[She looks Angel one last time as Frank takes her by the arm.]
Maddie: "Bye-bye, my baby."
[They walks outside together. Frank has his arm around her shoulder as she
holds onto him around his waist. He holds the gun by the barrel and away from
himself so that the police can see there is no threat of violence. They walk
towards the officers and Peter as Maddie resumes her voice over.]
{Maddie: "I haven't seen my boy since that day."}
[FINAL SCENE: Perspective shifts to Maddie, sitting in an interrogation room
at a prison, speaking to someone unseen.]
Maddie: "Travises send me a picture once in a while.
I asked them not to tell Angel anything about his
mother. I don't want him knowing anything about me.
I mean, I doubt if... if anybody can love him like
I do. But I had a feeling that day that... life with
me wasn't a price my baby should pay. He- he'd have
just grown up to be another Bobby, another Jim...
another man like my father. I want a clean life for
him. Least I had a hand in giving him that."
[We finally see who she has been speaking to -- it is Frank, who is visiting
her.]
Maddie: "You saved me that day. Only man in my life
that ever did something nice for me."
Frank: "You need anything, Maddie?"
Maddie: "No. I appreciate your visiting me. If you
get the time, come back, if you can."
[We see them both, sitting across from one another at a table in a room. The
door is closed. She is looking at a small object in her hand.]
Maddie: "Bring your daughter. I'd love to meet her."
Frank: "I will. You're going to be all right."
[A female guard opens the door and announces... ]
Guard: "Time's up."
[Maddie looks at the guard, then back at Frank.
Maddie: "I spend my time thinking of Angel. Praying
he ain't thinking of me."
[She stands up, walks over to Frank, hands him the object and kisses him
on his forehead before leaving with the guard.]
[Frank watches her leave, then looks down at the object in his hand. It is
a photograph of a smiling Jordan with a soccer ball in her hands. He looks
at the photo, sadly, then stares out in front of him.]
[The credit fades in from black... ]
Executive Producer: Chris Carter
--------- commercial segment ---------
[PREVIEW of next week's Millennium -- no image description]
Jordan: "Do you know all about bad dreams?"
Frank: "I know enough about bad dreams to keep them
from you."
Jordan: "When I lay me down to sleep, I pray the Lord
my soul to keep."
Frank: "Did you find a message on the body?"
Jordan: "If I should die before I wake... "
Jenkins: "Take him!"
Jordan: " ...I pray the Lord my soul to take."
[Jordan screams.]
Voice Over: "Millennium. Next Friday. Parental
discretion advised."
[End titles roll]
Ten Thirteen Productions
in association with
20th Century Fox Television (R)
A News Corporation Company
Story Editor: Charles Holland
Co-Starring
James Gallanders (Missouri State Trooper)
Steve Makaj (Arkansas Trooper Flanagan)
John Tierney (Preacher)
Renee Michelle (Adeline Travis)
Jim Swainsburg (Sam [Wade] Travis)
[Gina Chiarelli] (Killean Marie Haskel)
[Jim Poyner] (Mr. Fred Nesmith)
[Mary Black] (Mrs. Nesmith)
Casting by Rick Pagano / Debi Maniwiller, C.S.A.
Vancouver Casting by Coreen Mayrs
Original Casting by Randy Stone, C.S.A.
Production Manager: Kathy Gilroy-Sereda
First Assistant Director: Craig Matheson
Second Assistant Director: Jerald Schoenroth
Set Decorator: Erik Gerlund
Art Director: Roxanne Methot
Construction Coordinator: Clare Davis
Script Supervisor: Kimi Webber
Location Manager: Danny McWilliams
Hair Stylist: Brenda Gibson
Makeup Artist: Diane Pelletier
Special Effects Makeup: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Marko Lytviak
Sound Mixer: Patrick Ramsay
Camera Operators: David Crone, Mike Wrinch
Gaffer: Barry Donlevy
Key Grip: Brian Smith
2nd Unit Director of Photography: Les Erskine
Property Master: Kimberley Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: James Perenseff
Extras Casting: Lisa Ratke
Assistants to Chris Carter: Mary Astadourian, Joanne Service
Production Coordinator: Toni Pedersen
Post Production Supervisor: Julie Herlocker
Casting Associate - Los Angeles: Alfred Gomez
Casting Associate - Vancouver: Heike Brandstatter
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark R. Crookston
Re-Recording Mixers: James G. Williams, Bryan Gladstone, Don MacDougall
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Robert Hudson, Jim Thomson
On-Line Editor: Brian C. Baxter
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
Camera and Lenses by Clairmont Camera
Vehicles Provided by Chrysler
Filmed on Location in British Columbia, Canada
Presented in Dolby Surrond TM where available
Copyright (c) 1997
Twentieth Century Fox Film Corporation
All Rights Reserved #4C10
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: July 23, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net