M I L L E N N I U M

"WALKABOUT"

Ep. 1.17  [MLM-115  (4C15)]

[ First Season ]  (Complete Transcript)

U.S. Air Date: March 28, 1997

[With kind help from: Paul Klimstra, Warren Burwell and Crusader.]

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

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


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


[OPENING SCENE: Morning. It is raining. Thunder can be heard. Overhead view
of a city street. There is little traffic.]

[A view of an alley. There is no movement.]


YAKIMA, WASHINGTON
SUNDAY, 9:27 AM


[Groundview of a city street. Some traffic is moving along the street now.
We can see a sign for a medical facility. It reads: `WHOLE FAMILY MEDICAL
CENTER - No Appointment Necessary.' A small dog runs up near the sign and
sniffes at a bush. Then shakes the rain from his fur before running up to
the front door of the clinic. The dog scratches at the glass door, trying
to get in out of the rain.]

[Perspective changes to inside the clinic, looking out at the dog through
the glass door. Thunder can still be heard.]

[The camera pans away from the door and moves towards the front desk. There
is no movement anywhere. No sound except for the background music. The clinic
is obviously closed to the public. The office is dark except for a couple of
small lamps.]

[The camera then pans across the empty receptionist's desk, the empty chair,
the file cabinets, and moves along to a corridor where some screams can be
heard coming from a room at the far end.]

[The camera moves forward through the corridor towards the room. Shouts and
screams continue. Pounding can also be heard.]

[Suddenly a woman, a nurse, bursts through the door, screaming. She tries to
shut the door but a bald man pushes against it, thrusting his left arm out
at her. Her hair is a mess, her nose is bloody. She's terrified but manages
to stay out of the man's reach. Still pressing against the door, she reaches
for the keys. She succeeds in shoving her weight against the door, closing
it, then locking it with the key. Then she runs away from the room. The man
can be seen through the security glass panel in the door.]

[Inside the room, several people are screaming, moving about the room, each
behaving in a psychotic manner. All are talking gibberish or nonsense.]

[A man stands by a water dispenser, a paper cup of water in his hand. He's
wearing a brown jacket. His face is unseen. He lowers his hand so that the
water spills out from the cup, then he crushes and drops it to the floor.
We see the room and its occupants, more or less, from his perspective.]

  Tardot: "Who's keeping the whales from evolving? They
  beach themselves higher each year. They want to live
  on land but someone keeps pushing them back!"

[The camera finally shows the bearded man, Tardot, who has been speaking
about the whales. He is very upset now and removes both upper and lower
dentures, holds them in his fisted hands and screams.]

[Two woman, a brunette and a blond, begin fighting with one another on top
of a table.]

[A black man, G.J., has his arm around the head of another man, Moxie, and
slams him against a wall.]

[Another man is reaching with his arms over his shoulders trying to claw at
something he thinks is on his back as he walks past another woman, Sal, who
is undoing the buttons of her blouse.]

[Tardot, the bearded man, is seen again, crying, mumbling incoherently.]

[The bald man who attacked the nurse and struggled with her at the door has
his thumbs pressed against his eyes.]

[Sal, the woman who was undressing, begins dancing towards the camera. Her
blouse is open, her bra is visible and she is lifting her skirt. Another man
in the background behind her is chewing on a pillow.]

[The two women fighting on the desk are getting more rough. Both are clawing
at each other. The brunette is trying to choke the blond.]

[The bald man then gouges out his own eyes with his thumbs, blood runs down
his cheeks. Blood is also visible on his teeth.]

[The man in the brown jacket goes the glass-paneled door. We see him through
the glass. It is Frank Black. He leans against the glass with both his arms
raised. He begins pounding his fists against the glass.]

  Frank: "Let me out!"

[His first strike breaks the glass. It shatters but does not splinter. The
tempered glass encases a wire mesh security screen and the glass continues
to be shattered with each blow from his fists, palms and forearms as he
treats the door as if it were a punching bag.]

  Frank: "Out! Out! Out! Out! Let me out!"


[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]


"I remember the very
things I do not wish to;
I cannot forget the
things I wish to forget."

Cicero


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


[Episode credits roll during the next scene]


Terry O'Quinn (Peter Watts)
Brittany Tiplady (Jordan Black)
Stephen James Lang (Det. Geibelhouse)

and

Bill Smitrovich (Lt. Bob Bletcher)

Guest Starring

Zeljko Ivanek (Dr. Daniel "Danny" Miller)
Gregory Itzin (Hans Ingram)

Music by Mark Snow
Editor: George Potter
Production Designer: Mark Freeborn
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Ted Mann
Co-Producer: Ken Dennis
Co-Producer: Robert Moresco
Producer: Chip Johannessen
Co-Executive Producer: Frank Spotnitz
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Chip Johannessen & Tim Tankosic
Directed by Cliff Bole


[NEXT SCENE: Outside, a glorious morning, sunshine. The Black residence is
seen from across the street as a car pulls up and parks.]

[Inside, Jordan gestures with her hand raised above her, trying to teach
Benny, the family pet dog, to sit up. He's not being very cooperative.
Jordan's mother, Catherine, enters the room with the day's mail.]

  Jordan: "Sit! Sit, Benny! Sit! Sit, Ben! Sit!"

[She begins giggling.]

  Jordan: "Benny won't sit!"

[She starts laughing because the dog is licking her face.]

  Catherine: "You don't always do what I tell you to
  do."

  Jordan: "But it's not the same."

[The door bell rings.]

  Catherine: "Oh! Race you!"

[Catherine, Jordan and the dog make a dash for the front door. Jordan and
Benny win easily.]

  Catherine: "Oh! Hey, how'd you two get to be so fast,
  huh?"

[Catherine pulls back the curtain on the stained- and leaded-glass door and
sees Peter Watts standing outside.]

  Catherine: "Um, Jordan... why don't you go and see
  if Benny wants something to eat, huh?"

  Jordan: "But he already ate."

  Catherine: "Well, maybe he wants some water then?"

  Jordan: "Okay. Come, Ben!"

[The two go off to the kitchen as Catherine opens the door.]

  Peter: "Hi. I'm Peter Watts."

  Catherine: "Yes, I- I know who you are. Has something
  happened?"

  Peter: "Um... did Frank call you last night?"

  Catherine: "No. But he wouldn't if it got late or
  something. What's going on?"

  Peter: "He never checked into his hotel in Yakima.
  The police I called this morning when he missed his
  meeting with them."

  Catherine: "Have you checked the hospitals?"

  Peter: "Mm-hmm. Also notified law enforcement along
  his route but, uh, nothing so far."

  Catherine: "Oh, my God. He said he was going to review
  a few papers."

  Peter: (nods) "That was my understanding. I'd like to
  take a look through his things, if I could. Maybe the
  two of us together can find something."

  Catherine: "Yes, come in."

[Peter enters the house and follows Catherine through the hallway, into the
kitchen where Jordan sits on the floors petting Benny's head on her lap. She
looks up and stares at Peter as they continue walking towards the basement
door to go down to Frank's office.]

[Downstairs, they both stand by Frank's computer.]

  Peter: "Listen, I apologize for even asking this but
  is there anything I should know? Everything all right
  here?"

  Catherine: "Yeah, things have been good."

  Peter: (nods) "Not much on his desk. Let's see what's
  on his computer. May I?"

  Catherine: "Uh, yes."

[Peter takes a floppy disk from his pocket and inserts it into the disk
drive.]

  Catherine: "What was this case that you sent him on?"

  Peter: "Routine homicide review."

  Catherine: "Then why send Frank?"

  Peter: "From what I understand, it was something he
  wanted to do."

[The computer screen can be seen. The disk Peter has inserted is running.
The screen has a red graphic and reads: `SECURITY TRACE - LOADING...' and
there is a progress bar beneath it. The upper left hand corner has the
usual `Starting up... ' message whenever the computer is turned on.]

  Peter: "Got a fair amount of Internet activity outside
  the Group."

[The screen shows a box which reads as follows: ]


NETWORK ACTIVITY

listing last 12 hits . . .

http://www.cc.mancol.edu/science/biology/plants.new/protec...
http://www.palu.gov/search.html
¶¶©OfÒ<£ðóelSæBö}¥åkHXÓÃà6îDÓm¢5Í3):ö}¥åkHXÙÁá6îDÒm¢5I
http://www.effex.com/kjv/book2.chapter7.verse21-25.html
http://www.westmedia.com/search/research/dho/new_sites...
¶¶©OfÒ<£ðóelSæBö}¥åkHXÓÃà6îDÓm¢5Í3):ö}¥åkHXÙÁá6îDÒm¢5I
¶¶©OfÒ<£ðóelSæBö}¥åkHXÓÃà6îDÓm¢5Í3):ö}¥åkHXÙÁá6îDÒm¢5I
http://www.Peripheral/Home.html
¶¶©OfÒ<£ðóelSæBö}¥åkHXÓÃà6îDÓm¢5Í3):ö}¥åkHXÙÁá6îDÒm¢5I
http://www.biblicalref.com/dan/poem0419/psalms_new/entry...
http://www.Peripheral/Search/Results
¶¶©OfÒ<£ðóelSæBö}¥åkHXÓÃà6 îDÓm¢5Í3):ö}¥åkHXÙÁá6îDÒm¢5I


  Peter: "One web site in particular."

[He highlights one of the repeated sites listed. Another box pops up with
a different code for the URL and the word: `ENCRYPTED' written in red.]

  Peter: "Some encrypted correspondence. We can probably
  undo that." (pause) "E-mail."

[A new box appears on the screen. Heading reads: `E-MAIL' with `DATE, TO and
FROM' columns. Lines of code appear, each ending with the word `ENCRYPTED'
in red. At the bottom, it reads: `10 Encrypted Files selected' and it asks:
`DECODE?' with an `OK' button next to it.]

[Peter hits the `OK' button and the files are decoded. The ten messages are
dated from 3/15/97 through to 3/22/97. All are addressed to: `DAVID MARX'
and are from: `DOCTOR DANIEL MILLER.']

  Peter: "The correspondence itself has been deleted
  but the directory's intact. You ever hear of a Doctor
  Daniel Miller?"

  Catherine: "No."

  Peter: "Frank's using another name besides his own
  here. David Marx? Is that a friend of yours?"

[Catherine hesistates.]

  Peter: "Catherine, help me here."

  Catherine: "Five years ago... just before Frank
  collapsed, he used to vanish. Sometimes for days
  at a time. He would check into hotels using that
  name. It was a friend of his when he was a kid...
  who died."

[Jordan comes down the stairs.]

  Jordan: "Mommy?"

  Catherine: "Uh, I'll be right there, sweetheart."

  Jordan: "Is Daddy all right?"

[Catherine and Peter both turn and stare at Jordan.]


YAKIMA, WASHINGTON
MONDAY, 11:17 PM


[NEXT SCENE: A police car drives down a quiet street when it gets a radio
call from dispatch.]

  {Radio: "Unit 311, be advised we have a disturbance
  at 54th and Lincoln. Probable 415. D and D."}

  Officer #1: "Drunk and disorderly -- Plasma Row."

  Officer #2: "Yeah, your turn to do the honors."

  Officer #1: "Yeah, I know, I know. We got any rubber
  gloves or anything in here?"

[His partner smiles. The patrol car pulls into an alley, the location their
dispatcher gave them. Two drunks are wrestling over an item. The car turns
on its siren and lights to get their attention.]

  Man: "It's mine! Give it to me!"

[The car stops in front of them and both officers get out and approach the
drunks.]

  Officer #1: "All right, break it up! Break it up!"

[They finally stop fighting and let go of one another.]

  Officer #1: "You want to hand that to me now?"

[One of the men hands the officer a watch. Frank's watch. The other man is
wearing Frank's brown jacket. The other officer has walked over to check on
another man who is lying on the ground by the wall beyond a dumpster.]

  Officer #1: "I see a man somewhere late for an
  appointment."

[The second officer shines a flashlight on the man on the ground. He is
curled in a fetal position. His hands are bandaged. His socks and shoes have
been taken from his as was his jacket. His face is covered by his hands.]

  Officer #2: "Jack, we got a guy here in serious shape."

[The officer rolls him over. His hand falls to the side of his face and we
can see that it is Frank. There's blood on the bandages and some blood on
his sweater. He's unconscious.]


SEATTLE PUBLIC SAFETY BUILDING
TUESDAY, 8:11 AM


[Bletcher paces in front of the elevator waiting for... Catherine, Peter and
Jordan who step out through the elevator doors. Catherine is carrying her
daughter in her arms.]

  Bletch: "Hi."

  Catherine: "Where's Frank?"

[Bletcher gestures with his head toward an office.]

  Bletch: "We got a call from the Yakima police. He was
  in pretty bad shape when they found him."

[Catherine and Peter look over and can see Frank through the windows of the
office. He is wearing the same clothes from the alley, still without shoes.
He's slumped down leaning against his right hand with his arm resting on the
chair. Catherine puts Jordan down on the floor and Bletcher takes charge of
the child.]

  Bletch: "How you doing, Jordan?"

  Jordan: "Fine."

[Catherine enters the office. She walks over to Frank, kneels down in front
of him, caresses his shoulder, then his face. At first, he doesn't react.
Then he looks up and sees her. He melts in her arms. He holds on, then just
lets go when she sighs and kisses his cheek.]

  Catherine: "Oh, Frank... what happened?"

[He seems near tears and unable to speak as Jordan enters the office and
comes running up to him. He picks her up and puts her on his lap. Then he
pulls Catherine's head towards him embracing them both.]

[Just outside the office, Peter speaks with Bletcher.]

  Peter: "Any explanation?"

  Bletch: "Maybe he'll talk to you. He was wearing this
  hospital bracelet. David Marx?"

[He shows Peter the bracelet. It reads: ]


03-23-97   49M   ER
MARX, DAVID  (NMI)
DR. J. SERVICE
1154-44   625-88


[Peter looks at the Black trio, still huddled together as Frank sighs.]

[Later that day, back home at the Black residence... Frank stares out at his
backyard while holding the bracelet in his hands. Both sets of knuckles have
band-aids on them. Catherine enters the room.]

  Catherine: "Frank." (whispers) "What's going on?"

[He turns and faces her.]

  Frank: "I can't remember."

[He holds up the hospital bracelet.]

  Frank: "David Marx? That must have been scary for
  you."

  Catherine: "I already knew. We found the name on your
  computer."

  Frank: "I used that name before I left?"

  Catherine: (nods) "Some e-mail."

  Frank: "It's not what you're thinking. Something
  happened to me up there and I don't know. I can't
  remember. Wherever I was... someone died there."

[He gets emotional as he says those last words.]


CENTRAL DISTRICT
YAKIMA, WASHINGTON


[Peter drives Frank to see Dr. Daniel Miller.]

  Frank: "You're sure this is the right address?"

  Peter: "I'm sure it's the address on his Internet
  account."

[They enter a seedy-looking old apartment building and walk up a flight of
stairs. Kids are shouting, playing ball in the hallway. The superintendent
calls out from his office where he sits at a desk watching TV.]

  Super: "Hey, out there! Shut up! I warned you kids!"

[Frank and Peter stand by the open door which has a `PRIVATE' sign and a
flyer on it.]

  Super: "What can I do you for?"

  Peter: "We're looking for a Dr. Daniel Miller."

  Super: "Dr. Daniel Miller... You mean Danny."

[The kids begin yelling and chasing one another in the hallway behind Peter
and Frank. Peter has to raise his voice to be heard over them.]

  Peter: "Is he in?"

  Super: "He's in all right. Guy hasn't left the
  building since I've worked here. Down the hall, 109."

  Frank: (to Peter) "I'd like to talk to him myself."

[He heads down the hall alone. The superintendent steps out from his office
and... ]

  Super: (to Frank) "Tell him his rent's two weeks
  late."

[Peter walks over to a chair in the hall opposite the manager's office.]

[Frank walks down the hall. Other residents in the building can be seen. He
finally reaches Room 109. He knocks on the door.]

  Frank: "Dr. Miller?"

[There's no response so he knocks again.]

  Frank: "The superintendent said you were here. My
  name is Frank Black." (pause) "David Marx."

[The door is opened, a security chain remains fastened as Dr. Miller peers
out to look at Frank.]

  Miller: "You lied about your name?"

[He removes the chain, opens wide the door and allows Frank to enter the
room.]

[Inside, the room is a mess. Books are piled everywhere, stacks of papers,
shelves teeming with books, file cabinets... On a desk, a laptop computer
sits next to an opened full-sized tower unit which the doctor is working
on.]

  Frank: "You're a doctor?"

  Miller: "Please don't answer a question with a
  question."

[He walks over with his eyeglasses in hand and picks up a couple of cards
or adapter boards from a shelf and a framed diploma from the top of a file
cabinet.]

  Miller: "Cornell Med. Fourth in my class."

[ He walks back to Frank, handing him the diploma, then sits down at the
desk to work on the half-assembled tower. Frank looks at the diploma, then
puts it down on a chair which is covered with folders and books.]

  Frank: "I came to you for medical advice?"

  Miller: "Here?"

  Frank: "I've never been here before."

[He walks over and stands near Miller. He looks lost.]

  Miller: "You're barely here now."

[Frank seems a bit dazed.]

  Miller: "You really *don't* remember."

  Frank: "I can't imagine why I would have been in
  contact with you."

  Miller: "Do you remember the trial?"

  Frank: "What trial?"

  Miller: "Selective retrograde amnesia. Possibly
  psychogenic."

  Frank: "What kind of medicine do you practice?"

  Miller: "I said right up front I can't practice
  anymore."

  Frank: "When did you tell me this?"

  Miller: "E-mail."

[He notices Frank's bruised knuckles. He takes his eyeglasses, puts them on
and looks more closely at Frank's hands. All of his knuckles have cuts on
them.]

  Miller: "Wow! I heard it got weird but... the others
  just said they saw crazy, crazy stuff."

  Frank: "What did you do to me?"

  Miller: "I thought I did you a favor -- one to another."

[Frank leans in closer to Miller.]

  Frank: "One *what* to another?"

  Miller: "You said you were like me... seeing things."

[Frank straightens up again.]

  Miller: "You told me you were looking for a cure."

[NEXT SCENE: Later that night. Thunder can be heard but it is not raining
yet. Peter drives Frank to the Whole Family Medical Clinic. They both exit
the car and eye the clinic suspiciously. Peter walks round the car to join
Frank who remains leaning against the car while holding onto the open door.]

  Peter: "You were here?"

  Frank: "According to Dr. Daniel Miller. Said I
  contacted him on the Internet. He keeps tabs on
  experimental and clinical trials."

  Peter: "Testing drugs before they're approved."

  Frank: "Yeah. He said I was interested in a third-
  stage efficacy trial, a drug called Proloft."

  Peter: "Why?"

  Frank: "I don't understand it. I don't even take
  aspirin."

[He finally steps away from the car, slamming the door shut.]

[The two enter the clinic which has several patients sitting and walking
about the room, a nurse behind the desk, sound of a phone ringing, and
everything is well-lit -- in marked contrast to the last time we saw the
clinic. Peter and Frank walk up to the desk.]

  Nurse: "Can I help you?"

  Peter: "Yes, would you know anything about a clinical
  trial that was held here this past Sunday?"

  Nurse: (shakes her head) "We're closed weekends."

[Frank impatiently taps his hand on the desk then walks off down the corridor
on his own.]

  Nurse: "Sir! May I help you?"

[She follows after Frank who seems oblivious to her questions. He's heading
for the room at the end of the corridor. The room where the drug trial was
held -- the room where he had been. Peter follows after the nurse.]

  Nurse: "Sir, may I help you? Sir?"

[Frank pauses before reaching the room, then continues.]

[He stands before the safety glass, newly repaired, tapping it with the
fingertips of both hands in unison. He looks through the wire mesh and glass
into the room itself and flashes on some quick images he recalls from the
drug trial.]

[{He sees (in black and white): some very confused, close up images of the
bald man's nose, then his thumbs shoved into his eyes; a couple of blurred
images; the black man, G.J., with his arm around the neck of a white man,
Moxie; G.J. grinning at the camera (Frank's POV) -- this image is washed out
in a bright white light; an indistinguishable image bathed in white light;
and of G.J. with his arm around Moxie's neck. End of flashback.}]

[Frank opens the door and touches the door frame, this time the side facing
the room -- the same perspective from which he had broken it earlier. He 
raps the knuckles of his right hand against the door and enters the room.]

  Frank: (to Peter) "It happened here. The glass... I
  broke it with my hands."

[He gestures with his fists. He looks around at the room. Everything is neat
and orderly. The water dispenser stands by a wall where Frank had stood with
the cup of water in his hand. He turns around and around, hands still held
in fists, breathing heavily.]

  Frank: "These were animals in a zoo."

[He remembers more of the events which occurred.]

[{He sees (again in black and white): a couple of negative images of some
of the others in the room; blurred, confused images of yet others; and a
few confused images of someone, the blond woman, kneeling or sitting on the
floor beside the water dispenser.}]

[The flashback pauses, then resumes.]

[{He sees (again in black and white): blurred imaages of G.J. screaming, eyes
and mouth wide open as he's carrying someone across his shoulders; images of
the two women  fighting, the brunette hitting the blond woman and then the
blond falling down to the floor; more images of the two women who seemed to
have both been struck by someone else; Frank as he pounded the glass with his
fists; and several images of two men fighting. End of flashbacks.}]

[Frank suddenly takes a folding chair, opens it, places it before the water
dispenser, stands on it, then places his hand up on the molding surrounding
the painted paneling in the room. He rubs his finger on the molding.]

  Frank: "They were observing. Here."

[He taps the wall. He then turns and faces the opposite wall.]

  Frank: "Over there. A camera."

[He nods. It seems to be making some kind of sense to him now.]

[Elsewhere, someone is viewing video surveillance tapes of the drug trial.
The video is in black and white. The sounds of the participants' screams
can be heard throughout in the background.]

[On the top monitor, a close up of Frank, from behind, can be seen pounding
the glass with his fists. A time code is on the lower right hand corner of
the monitor. On the lower monitor, a wider shot of the room can be seen as
well as some of the other participants in the drug trial, but still centered
on the screen is Frank, seen from behind, and his battle with the glass-
paneled door.]

[The man viewing the tapes is making careful notes as he watches Frank.]

[A close up of the second screen shows Frank, from behind, slamming his
hands against the glass. The time code reads: `21:13.19' and runs through
to `21: 13.21' as the man writes: ]


SUBJECT DATA                     CHART - {number}
NAME: Marx, David
AGE: 49                       SEX: Male
WEIGHT: 175 lb.               HEIGHT: 5' 10"
ETHNIC ORIGIN: Caucasian
ALLERGIES: Unknown
PREVIOUS ADVERSE REACTIONS: N/A
PRE-EXISTING MENTAL CONDITIONS:
    Temporal Lobe Seizures Possible

SUBJECT'S REACTION
REACTION ONSET: Sudden
REACTION INTENSITY: Major
AGITATION: 8.5



COMMENTS

EXTREME ADVERSE REACTION
Suggests Organic Disorder


[An extreme close up of the back of Frank's head as he continues to pound
the glass with his hands. The man viewing the tape underlines the word:
`EXTREME' above in his conclusions on the subject, David Marx (Frank).]


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


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


SEATTLE PUBLIC SAFETY BUILDING
TUESDAY, 4:22 PM


[NEXT SCENE: Later that afternoon in the Seattle P.D. forensics lab, Peter
tells Frank what they've learned about the clinic.]

  Peter: "We scoured the clinic. There were four holes
  in the ceiling molding -- one in each corner -- that
  could have housed video cameras. The glass in the door
  was replaced at some point. Hair and fiber is consistent
  with a multi-purpose room used by many people. Some
  latent bloodstains, but that's hardly unusual in a
  medical setting. The drug company released the test
  records to us. No names, of course, but they confirm
  that David Marx *was* in the trial. Left at 3:45 P.M."

[Frank looks at the records from the drug company.]

  Frank: "Who's signature is this?"

  Peter: "The attending nurse. We're trying to contact
  her. So it appears you *were* in this trial."

[Frank sighs and walks across the room. Peter joins him.]

  Frank: "I would have never taken the drug."

  Peter: "Then whatever happened to you came later."

  Frank: "Everyone was affected. It must have been in
  the water dispenser."

  Peter: (shakes his head) "No, it was fine. We checked."

  Frank: "It had to be... "

  Peter: (interrupts) "Frank... listen to me. Your hands
  were cut up. There was blood all over them."

  Frank: "We talked about that."

  Peter: "And this person that you say died... "

  Frank: "*Did* die."

  Peter: "And you don't know where you've been or what
  you've done. You see what I'm saying? The Group wants
  you to come in and talk to someone."

  Frank: "Danny's been in touch with the trial
  participants. He's gathering them together to find
  out what happened. You're welcome to come."

[He leaves. Peter grabs his jacket off a hook and follows after him.]

[Later, at Dr. Miller's apartment, the trial participants are relating some
of the events they remember from the drug trial. Peter and Frank are present
and Danny Miller takes notes.]

[G.J., who had been fighting with the other man, tells his story.]

  G.J.: "Moxie here -- just clumsy. That's how *that*
  happened."

[He taps the other man's bruised forehead.]

[Tardot, the man who talked about whales and removed his dentures, is also
there.]

  Tardot: "Yeah, well... I was scared."

  G.J.: "That goes with being paranoid."

  Frank: (to G.J.) "Did you see me there?"

  G.J.: "Sure. You were writing down things."

[Sal, the woman who was disrobing and dancing speaks next.]

  Sal: "That was the nurse."

[Frank turns and faces the woman. He has sees a brief series of images.]

[{He sees: a bright white light; blood; then Sal's legs with her skirt
pulled up, dancing (in black and white); close up of Sal's face (also in
black and white). End of flashback.}]

  Sal: (laughs) "I don't know what all the stink is
  all about. Believe me, I saw much worse down in New
  Orleans. Hmph. Some kind of anti-alzheimer concoction
  that they're trying to sneak past the F.D.A. Everyone
  was crazycorn for a whole week afterwards."

  G.J.: "I heard everyone was drunk as skunks.
  Drunk as skunks."

  Sal: "That's you, sweety-pie."

[Sal and G.J. continue talking in the background.]

  Miller: "Great turnout."

  Peter: "How many people actually do this for a living
  -- be human guinea pigs?"

  Miller: "Thousands of trials each year."

[The others are still talking in the background when they mention the bald
man at the trial.]

  Tardot: "He blinded himself."

  Sal: "That's Oedipus, dear."

  Tardot: "With his own hands. I saw it."

  G.J.: "Hey, I saw you tear your own nose off -- but
  there it is, on your ugly face. So what's that about,
  huh?"

[After the gathering, Peter and Frank leave Danny's apartment. They talk
about it and the drug trial in the hallway.]

[Frank pulls on Peter's arm to get him to stop walking and listen to him.]

  Frank: "The man who blinded himself -- that's who
  died."

  Peter: "Based on what -- on what you heard in there?"

[Frank nods.]

  Peter: "Frank, what are you doing with these people?"

  Frank: "Trying to find out."

  Peter: "So you trust some shut-in you met over the
  Internet? You have to be honest with me."

  Frank: "I have been."

  Peter: (angry) "No, you have not been! You misled
  us when you concocted Group business to take you to
  Yakima; you misled your wife!"

  Frank: "That's not your problem."

  Peter: (raises his voice) "*I* am the person who had
  to go to *your* house and tell *your* wife that you
  were missing! You're not being honest with anybody!"

  Frank: "I am trying... very hard!"

[Exasperated, Frank walks away from Peter.]

  Peter: "Frank."

[Frank does not stop nor turn to look back at Peter.]


YAKIMA COUNTY HOSPITAL


[NEXT SCENE: Day, sunny. Outside the hospital's emergency entrance.]

[Inside, Frank, on his own, tries to get some information. He steps out of
an elevator and walks past a gurney in the hall, running his hand along the
sheets. A page can be heard in the background as well as some phones ringing.
He walks up to a desk where a nurse is seated by a computer. She answers him
without looking up from her work.]

  Frank: "Excuse me."

  Nurse: "Just a moment."

  Frank: "I'm looking for a man that may have been
  admitted two days ago, suffering from severe eye
  damage."

  Nurse: "Sorry, patient records are confidential."

  Frank: "He may have been admitted with me. I was
  released yesterday morning. My name is David Marx."

[At the mention of the name, she stops working, looks up at Frank, smiling.]

  Nurse: "Wait here. I'll see what I can do."

  Frank: "Thank you."

[She gets up and walks away from the desk and Frank. He looks over and sees
the door is open behind the nurses' station. Files and records can be seen
through the open door. Frank enters the other room and begins looking at the
folders. He quickly scans two file drawers, then looks through a third. He
sees: MERCER, BETH; MELCHIOR, KLAUS; McDONALD, AYLENE and finally, the one
he has been looking for: MARX, DAVID. Seeing the name on the folder triggers
a flashback.]

[{He sees: himself on a gurney as he was brought into the emergency room,
struggling with the doctor and nurse who were trying to restrain and calm
him, his hands bandaged but still bleeding, lots of blood visible on his
sweatshirt. A pause. Then: a close up of his face, eyes wide open; again the
full shot of himself on the gurney, grimacing, still struggling as he was
brought into the E.R. End of flashback.}]

[Frank hears the nurse return with a security guard out by the desk.]

  Nurse: "He was right here!"

  Security: "Violent, huh?"

[He takes the folder and hides behind the open door.]

  Nurse: "The guy nearly broke Jackson's arm. You know,
  that new orderly?"

[Frank opens the folder to see what's inside but finds that it is empty
except for another folder which is also empty.]

  Security: "Well, why'd you release him?"

  Nurse: "We didn't! He fought his way out!"

[Frank slumps back against the wall and sighs in frustration.]

[NEXT SCENE: We see a black and white still photograph of Frank near the
smashed glass door, looking directly into the camera from the surveillance
video of the drug trial. Then the missing hospital records for David Marx.
The records reads as follows: ]

  
                     YAKIMA 
       {Logo}        COUNTY
                    HOSPITAL
1081 BURRARD ST., YAKIMA  WA

EMERGENCY NURSING TRIAGE REPORT
_______________________________

  
           Name:  MARX, DAVID  (NMN)
         D.O.B.:  JULY 21, 1947
            Age:      49
      Allergies:  NONE KNOWN

Chief Complaint:  LACERATIONS TO L/R  (DORSAL)
  Family Doctor:  UNKNOWN
 Accompanied By:  UNKNOWN


[The man, Hans Ingram, who had been viewing the surveillance video of the
drug trial and making notes while watching Frank, now closes the David Marx
file from the hospital. He places the Marx file along with several others
under a table.]

[On top of the table is a microscope with a lighted tissue sample under the
lens. He bends down to look at the sample and turns a knob for focus. Then
the sample itself can be seen. It is yellow-orange in color and shows many
closely-spaced, elongated cells throughout the sample.]

[He stands upright again, pauses for a moment, walks over to a refrigerator
past the four surveillance monitors which still are running the tape from
the trial. All are showing Frank as he pounded and broke the glass, trying
to get out of the locked room.]

[At the refrigerator, Ingram opens the door, looks inside, then takes an
apple from the door before closing it. As he walks away, we see a red liquid
dripping from the refrigerator door and pooling on the floor.]

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

[Inside, Frank and Catherine are talking in the kitchen.]

  Frank: "I thought the medical records would help me
  remember."

  Catherine: "They'll show up."

  Frank: "No. He has 'em."

  Catherine: "Who?"

[Frank can't offer any answer except for a sigh.]

  Catherine: "Peter called. I know it doesn't seem like
  it, but he's trying to help."

  Frank: "Then he should be looking for the man who
  died instead of questioning whether or not it ever
  happened."

  Catherine: "He doesn't believe you?"

  Frank: "He says I lied to everyone, including you."

  Catherine: "He told me some things about Proloft --
  that it's being certified to treat certain temporal
  lobe anamolies. Hallucinations."

  Frank: "I would have never taken the drug."

  Catherine: "I know that. Uh... that's not what I mean.
  I mean... it makes a kind of sense that you were at
  the trial."

  Frank: "Not to me."

  Catherine: "You had to have a good reason to contact
  Danny in the first place. Frank... I knew you would
  never lie to me."

[Frank shakes his head.]

  Catherine: "So now you just have to find the guy who
  died."

  Frank: "I must have seen him at the clinic."

  Catherine: "They found you there *after* you left the
  hospital. Whatever drew you back must have been pretty
  important."

[Later that night, Frank stands outside the clinic as a man with his arm in
a sling exits the building and walks past him. Frank has some flashbacks.]

[{He sees (in black and white): a couple of images flooded with white light;
then G.J. and Moxie but they both become blurred; a flash of white light;
an extreme close up of someone's mouth and teeth with hands trying to pry
the mouth open; the bald man who had blinded himself with a bandage wrapped
around his head covering his eyes; then an extreme close up of the bandage.
Sounds of screams throughout. End of flashback.}]

[Frank then hears a sound from the alley and runs to see what it is.]

[A garbage truck is lifting the dumpster from behind the clinic and is ready
to dump the contents into the truck. The same dog from the OPENING SCENE is
near the truck and barks at Frank. He looks up and sees something fall into
the truck which does not look like ordinary trash. He runs to the front of
the truck, whistling to try and get the driver's attention. The man has a
flashlight in his hand.]

  Frank: "Hey! Stop the truck. Turn it off. Give me
  your flashlight."

[Frank then climbs a ladder on the side of the truck to the top, leans over
the edge and looks down into it with the flashlight. The driver climbs up
another ladder on the opposite side.]

  Driver: "Holy Mother of God."

[In the truck, among the trash bags and boxes is the body of the nurse from
the drug trial. Her face is badly bruised.]


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


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


[Sometime later that same night, the police are on the scene. Photos are
being taken and Peter is examining the body.]

  Peter: "Lacerations, bruises, defensive marks. Probably
  finished her off with a blow here. The occipital bone
  is shattered. Whatever caused the cuts on your hand is
  not what was used to kill her. My guess is a rock, a
  pipe, something ad hoc. Disposal of the body reads the
  same way."

[He removes the rubber gloves he used for the examination of the body.]

  Frank: "A struggle. Not premeditated."

  Peter: "Certainly not well planned."

  Frank: "He doesn't see himself as a killer."

  Peter: "Think a jury would disagree. But you were
  right. Somebody died."

[Frank walks over and stands near the nurse's body.]

  Frank: "She's not the one."

  Peter: "This guy killed two people?"

[Frank nods.]

  Peter: "Whoever it is has to be somehow hooked into
  this trial -- a participant, someone from the drug
  company... "

  Frank: (interrupts) "Man of science. It was someone
  I was supposed to see --  some expert. That's why I
  went to the trial."

[NEXT SCENE: Frank goes to Danny Miller's apartment. Perspective is from
within the apartment. He knocks on the door, then shoves a photo underneath
the door. Danny picks it up and looks at it. He removes the chain from the
door, opens it a crack, peers out, then opens and lets Frank in.]

  Frank: "That's the nurse from the trial."

  Miller: "Dead?"

  Frank: "Yeah."

[He hands it back to Frank, then walks across the room. Frank closes the
door and sits on the arm of a chair.]

  Frank: "There's another body. We just haven't found
  it yet. You led me to the man that was connected to
  the trials. He's some kind of expert -- psychotropic
  drugs."

  Miller: "You saw who I know. They wouldn't do this."

  Frank: "He almost killed me. Who is he?"

  Miller: (shouts) "I don't know! All right? I don't
  know! I don't know! I trusted you! What about your
  family? Did you lie about that, too?"

  Frank: "I have a wife and a daughter."

  Miller: (emotional) "Yeah, but you don't really see
  things, do you?"

  Frank: "I do."

  Miller: (near tears) "I have a daughter."

[Pause. He picks up a photo, then continues.]

  Miller: "One night, when my wife was out, I was taking
  care of her and... "

[He sits down on the edge of his bed.]

  Miller: " ...they found me on the highway trying to
  run into cars. The lights... I thought it was... the
  road to heaven."

[Frank gets up, walks over and sits beside Danny. He points to the frame
and Danny hands it to him. The photo is of Danny, his wife and their young
daughter.]

  Frank: "Beautiful child."

  Miller: "I thank the Lord every day I didn't drag
  her out there with me. It's okay for me... this,
  but... my daughter... God, I worry what she might
  have inherited from me."

[Frank's beeper hums. He checks it. He sees the message: `2000.']

  Frank: "I've got to go."

[He gets up and goes to the desk, writes on a piece of paper, tears it from
the page, folds it and walks back and sits down next to Danny.]

  Frank: "Look, this is my phone number."

[He pushes it into Danny's shirt pocket.]

  Frank: "If anything comes up... or, call if you want
  to call."

[He pats him on the shoulder then leaves.]

[NEXT SCENE: Back at the Public Safety Building. Peter and Frank are walking
through a hallway and going to the forensics lab.]

  Peter: "So you were right, the water *was* contaminated."

  Frank: "I thought you checked it."

  Peter: "We did and mass spectrometry I.D.'d a trace
  residue of mesmertine hydrochloride in the spill
  trough."

  Frank: "Which is what?"

[They've reached the forensics lab and enter it. A technician is in the lab.]

  Peter: "Proloft. We simply thought someone from the
  trial had spit out their medication."

  Frank: "So why are we here?"

  Peter: "Sandy Geiger, Frank Black."

  Sandy: "Hi."

[Frank nods.]

  Peter: "Sandy runs the x-ray diffraction facility.
  She had a look at the residue from the spill trough."

  Frank: "I thought it was Proloft."

  Sandy: "Yes and no. You'll love this."

[She presses a few keys at a computer terminal. Frank walks over to the
monitor and looks at the screen.]

  Frank: "So what are we looking at?"

  Sandy: "Stereo-isomers -- two different configurations
  of mesmertine hydrochloride."

[The image on the screen is of a large round shape and an elongated shape
with five additional offshoots, all connected. The image undulates on the
screen and occupies the left hand portion of the screen.]

  Sandy: "Same chemical formula. Mass spectrometry can't
  tell them apart. But look at this."

[She presses some keys again and a second image joins the first. This one
on the right hand portion of the screen, perfectly mirroring the original
image.]

  Sandy: "Two totally different 3-D structures."

  Frank: "Mirror images."

  Peter: "Like thalidomide. The molecule had two forms.
  One prevented miscarriages but the flip side caused
  severe birth defects."

  Frank: "I remember that."

  Sandy: "Now *this* is Proloft. It adjusts serotonin
  levels, controls anxiety. But *this* is what you gave
  me. Structurally, it's close to molecules that lower
  the threshold for temporal lobe seizures."

[Frank has a brief flashback.]

[{He sees (in black and white): the two women were fighting with each other
at the drug trial, the brunette slams the blond's head against the wall and
she falls to the ground. End of flashback.}]

  Peter: "Causing fight-or-flight response and other
  primal behaviors. Almost the opposite of Proloft."

  Sandy: "Evil twin."

  Frank: "I had a drink of water. I never knowingly
  took the drug."

  Peter: "Anti-Proloft. Access to the trial. Has to be
  someone from the drug company. Was Danny any help?"

  Frank: "Not yet."

  Peter: "Bedford Shriver has 2000 employees. If we go
  in blind, we could tip him off."

  Frank: "That's what this is -- a trial. He's testing
  his product for something bigger."

  Peter: "Massive contamination after Proloft is
  certified?"

  Frank: "I'm not so sure he'll wait that long."

[Meanwhile, back at Danny Miller's apartment, Danny is doing some research
of his own into Proloft. His video screen is still a mess since he had not
finished working on the video display card from earlier. The images are
askew. He types on his keyboard and brings up the following screens: ]

[The first screen reads: `Current Anti-Depressants' and shows a couple of
structural models of molecules.]

[The second screen reads as follows: ]


PROLOFT  

BEDFORD SHRIVERTM for years a leader in the
development of neurological pharmacology proudly
announces the release of PROLOFT1.

PROLOFT1 is a multi-level neurological adjustment
tool that acts on both {unreadable} and depressive
symptoms.

The Digest of Pharmaceutical Sciences

Stereochemistry


[The third screen reads: `The Digest of Pharmaceutical Sciences' and beneath
that: `Scientists on the Move -- Chivalry and Stereochemistry.' There is a
large color photograph of Hans Ingram with another scientist at work at the
Bedford Shriver drug company. The camera zooms in on Ingram's face on the
screen.]

[There's a knock on his door.]

  Ingram: "Open the door! I need to talk to you!"

[He turns the knob and shoves the door open but is stopped by the chain.
Danny runs to the door and tries to force it shut but Ingram is larger and
stronger than he is and continues to press hard against the door.]

  Ingram: "Danny... open the door. I just want to talk."

[He gives one more big push against the door, breaks the chain off the door
frame and enters the room. Then the door is closed.]

[Then Frank can be seen driving in his Jeep. It is late night and very dark.
He is on the phone with Catherine. Camera alternates between both during
their conversation.]

  Catherine: "Frank, I'm so glad you called. How are
  you?"

  Frank: "Better. We're finally making some progress
  on this thing. Jordan asleep?"

  Catherine: "Of course. Do you know how late it is?"

  Frank: "Long day. Peter and I have been all over the
  place."

  Catherine: "I take it you saw Danny Miller."

  Frank: "Why?"
  
  Catherine: "He left kind of a nutty message for you.
  Hang on, I- I'll play it for you."

[She places the phone near the answering machine's speaker, then presses a
button. Danny's message plays.]

  {Miller: "Frank? David? After you two left, I started
  thinking -- why feel bad when you can feel good. It's
  a choice we make and I'm- I'm ready to head outside."
  (sings) "Oh, Danny boy... "}

[He then hangs up.]

  Catherine: "Frank, are you still there?"

  Frank: "Honey, I'll talk to you later."

[Frank hangs up the phone.]

[Then Danny can be seen standing in the middle of traffic. Cars are swerving
to miss him. He's still singing `Danny Boy' as another car hits the brakes
just inches in front of him.]

[Frank's Jeep comes up on the scene. He sees Danny in the middle of the road
and pulls over to the side. Frank gets out of his car, not stopping to close
the door and runs toward Danny, who's back is to him.]

[As he turns, he is hit by a car. The impact throws him against the car's
windshield, shattering it. The momentum tosses him over the length of the
entire car and drops him down on the ground behind it. Frank keeps running
till he reaches Danny.]

  Driver: "You saw it, man -- he ran right at me. There
  was nothing I could do. It wasn't my fault.]

[Frank kneels by Danny's side and feels for a pulse but he's dead. Blood can
be seen coming from Danny's nose.]


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


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


WEDNESDAY
11:54 PM


[Frank is in his basement office talking to someone on the phone.]

  Frank: "Yeah, I know. Thank you. Thank you very much."

[He hangs up the phone. Peter comes down the stairs.]

  Frank: "Peter."

  Peter: "Any word on who Danny contacted at Bedford
  Shriver?"

  Frank: "It's bad."

[He gestures for Peter to take a seat. He grabs a chair, brings it over near
Frank's desk and sits down.]

  Frank: "Once he got going, he talked to half the
  company. Obviously, he got to our guy."

  Peter: "I stayed at his apartment till the Fiber
  crew showed up. I'm sure they'll come up with
  something."

  Frank: "Takes time."

  Peter: "I also went through some of his things."

  Frank: "You find anything?"

  Peter: "Yeah. Dr. Daniel Miller is definitely for real.
  Top of his class at Cornell. Chi Sigma Delta. Did his
  post-doctorate work at the University of Pennsylvania.
  Stacks of letters from grateful patients. And then it
  all ended in 1986. But he had a lot of fans."

  Frank: "Until his breakdown."

  Peter: "Even after that. He hooked people up with
  experimental drugs. He helped get them into the trials
  -- people in the late stages of AIDS, psych patients
  who didn't respond to approved therapies."

  Frank: "Doctor of last resorts."

  Peter: "Helped a lot of people."

[He hands Frank a stack of papers.]

  Peter: "Those are his sheets on the trial participants.
  I thought you might want to tell them what happened."

[Frank flips through some of the pages. All have from the drug company and
have the company letterhead: `Bedford Shriver Pharmaceuticals' along with
info on each of the participants in the drug trial. Some of the pages have
a hand-written name at the upper right hand corner: `HANS INGRAM.']

  Frank: "Danny left us a message."

[He stands up by the desk. Peter joins him. He flips through the pages, most
of which show the name.]


BEDFORD SHRIVER PHARMACEUTICALS
THURSDAY, 10:22 AM


[Some of the assembly line which packages the drugs manufactured there can
be seen. Also some of the workers, clad in robes, caps, gloves and masks.
A personnel chief, Dana Flender, guides Frank and Giebelhouse through the
facility.]

  Flender: "I have a hard time believing Hans Ingram
  could do the kind of things you're talking about."

  Frank: "He did."

  Flender: "He's been a model employee for 16 years.
  Long hours. Never misses a day."

  Giebelhouse: "Except today. Wouldn't you know."

  Flender: "What I mean is, there was no sign."

[Meanwhile, several officers and Bletcher get into Ingram's office using a
battering ram to break down the door. The officers and Bletcher all enter
with their weapons drawn. Then Peter can be seen and he remains by the open
door.]

[Inside, this is the same office where Ingram had been watching Frank on
those surveillance tapes. The four monitors can be seen -- all shut off, as
well as the microscope and patient files.]

[As Bletcher walks through the office, another officer passes an open door
and shakes his head at Bletcher, not having found anyone so far.]

  Bletch: (to Peter): "No one."

  Peter: "That's a bad sign."

[Back at Bedford Shriver, Frank and Giebelhouse look through Ingram's office
there. The walls are covered with Proloft ads. Some of them read: `CHANGE
DIRECTION WITH PROLOFT'; `GET YOUR LIFE BACK ON TRACK WITH PROLOFT'; `PANIC
- REACH FOR PROLOFT'; `Straighten Out Your Life With PROLOFT'.]

[Giebelhouse walks over, picks up one of the boards with a Proloft ad on it.
He looks at it, then turns to Frank.]

  Giebelhouse: "Does this seem maybe, uh, slightly
  obsessive to you?"

[Frank looks at an ad which is shown in close up. It reads: ]


The one that stands alone
against depression

PROLOFT

...SHRIVER(c), for years a leader in the development of neurological...
...announces the release of PROLOFT(c).

...is a multi-level neurological adjustment tool that acts as both...
... transmitters, resulting in near immediate relief
... symptoms.


[Back at Ingram's personal office, Peter looks through the collection of
patient files. We see: `JONES, URA; LEAR, BEV; McGILL, DON; MARX, DAVID; and
MASTERS, ED.' Peter removes David Marx's file, opens it and finds several
black and white stills from the surveillance video. They show Frank standing
by the broken glass door. Included is the Yakima County Hospital E.R. triage
report. When Peter hears Bletcher walk up behind him, he closes the file and
doesn't let Bletcher see it.]

  Bletch: "Guy this neat's not going to be too happy
  about getting his door broken."

[Bletcher runs his fingers along one of the shelves where the monitors are
located. No dust.]

[Peter walks over to a table, places the Marx file down next to him, finds
two gold packets, face down on the table. He picks up one of them and looks
at it. It is an item called: `SMOOTH TIME - ALL NATURAL' and beneath it is
the name: `BEDFORD SHRIVER PHARMACEUTICALS.' It looks like it may be a tea
sample.]

[Bletcher looks at the microscope and finds the tissue sample.]

  Bletch: "Get a load of this."

[He looks at the tissue through the microscope.]

  Bletch: "Hmmm... looks human."

[Peter at first looks at Bletch, then turns back and finally notices the
red liquid dripping from the refrigerator door to the floor. He drops the
packet, walks over to look more closely at the liquid. Then, using the end
of his jacket, he opens the refrigerator door and... ]

[The bald man from the drug trial who had blinded himself falls out onto the
floor. There are several lacerations where sections of skin have been cut
from his arms and chest.]

[Back at Bedford Shriver, Frank looks through some things on Ingram's desk.]

  Giebelhouse: "Half the country's on antidepressants
  already. Proloft will snare 20 million more."

[He stands before yet another ad: `A NEW ERA DAWNS.']

  Frank: "50 million people medicated. Welcome to the
  Age of Aquarius."

  Giebelhouse: "This guy with his Anti-Proloft? He
  probably thinks he's doing us all a favor, right?"

[The phone rings. Flender answers it.]

  Flender: "Yes?" (to Frank) "For you. Peter Watts."

[Camera alternates between the two during their conversation.]

  Frank: "Peter."

  Peter: "We found the other body. Occular trauma,
  tissue samples removed. Turned into a lab specimen
  but no Ingram. How about you?"

  Frank: "A hopper of Ibuprofen, a kilo heavy. They're
  testing it for contaminents."

  Peter: "Maybe we got him in time."

  Frank: "From what I'm seeing, dosing random bottles
  of aspirin won't do it for him. I think he's going
  to make a grander point."

  Peter: "Does Bedford Shriver make a product called
  Smooth Time?"

  Frank: (to Flender) "Do you make Smooth Time?"

  Flender: "Never heard of it."

  Frank: (to Peter) "No, why?"

  Peter: "His grand point -- I think we've got a box
  of it here."


GATEWAY CENTER
11:43 AM


[A man jumps through a glass window, falling to the ground, four stories
below. Paramedics are on the scene. There is great confusion everywhere as
Frank drives up in his Jeep. People are being carried out on stretchers and
loaded into ambulances. More police squad cars pull up with their sirens
wailing. A radio dispatch can be heard.]

  {Radio: "All units, all sectors, all districts. We
  have a Stage One alert. Proceed immediately to 6221
  19th Street, 62-21 19th Street."}

[Frank and Giebelhouse try to make their way inside the building past others
who shove their past them to get out.]

[Inside, several officers are trying to restrain some people. Frank finds
Peter kneeling beside a woman he is trying to help. Another man is leaning
on Peter's back and shoulder.]

  Peter: (to the man) "Need help? Hang on."

[Frank pulls the man away from Peter and sits him down on the floor.]

  Peter: "Frank. He's handing out bogus products to
  people on the way to work."

[He hands Frank a torn, empty packet of Smooth Time.]

  Frank: (to Bletcher) "You have him?"

  Bletch: "No, he's got to be long gone."

  Frank: "No, he records everything. He wouldn't miss
  this."

[He makes his way through the lobby. People are falling over themselves,
staggering around, being helped by others. Frank looks up and see security
cameras positioned in the ceiling. He finds Giebelhouse and a security guard
struggling with a man.]

  Frank: (to security guard) "Where's Security?"

  Guard: "Upstairs, left."

[People are piling down the stairs as Frank goes against the flow trying to
reach Security.]

[The scene on the next floor is no less chaotic than it was in the lobby.
Frank keeps moving, looking for the office. He moves along a corridor. A man
is lying on the floor. Frank jumps over him. Two other men begin fighting.
Frank moves past them and finally reaches the office. It is locked. He kicks
the door open.]

[Inside, Ingram calmly sits before the security console. He's been watching
the madness he's created throughout the building. He speaks to Frank without
turning from the monitors.]

  Ingram: "I saw you coming. I could have left."

[He finally turns and faces Frank.]

  Ingram: "Agitation, 8.5. You were wild. I learned a
  lot from you."

[Frank tosses the sample packet at Ingram.]

  Frank: "You poisoned me."

  Ingram: "I had a plan. You stepped on it."

[Frank becomes furious. He kicks Ingram's chair, turns him back towards the
monitor and shoves his face up against it.]

  Frank: "Yeah? Look at these people. You poisoned them
  all."

  Ingram: "No. They poisoned themselves."

[He turns his head sideways, bracing himself with his hands against the
monitor. Frank forces his head forward against the screen by squeezing his
neck.]

  Ingram: "Look at this! People will take *anything*!"

[Frank eases up for a moment and Ingram moves back in the chair, turning to
face Frank.]

  Ingram: "We're a nation of zombies!"

[Frank shoves his face back against the screen.]

  Frank: "People are dying out there!"

[Ingram struggles with Frank and turns once more.]

  Ingram: "Half the country's dead. The company I work
  for puts people to sleep."

[Frank grabs him by the lapels of his suit.]

  Frank: "And you wake 'em up!"

  Ingram: "That's right! And when this is over, will
  everyone go back to their zombie lives?"

[He stands up, defiant before Frank.]

  Ingram: (shouts) "I don't think so!!"

  Frank: "So you made your big point?"

  Ingram: "Yes!"

  Frank: "You killed the nurse, you killed Danny --
  what kind of point is that?"

  Ingram: (defeated) "I had a plan."

[Frank, still holding onto Ingram's lapel, hands him over to Bletcher who
has finally reached the room with Giebelhouse and another officer. They then
shove him up against a row of lockers and put his arms behind his back.]

  Bletch: (to Giebelhouse) "Cuff him."

  Ingram: (crying) "I had a plan and you ruined it! I
  had a plan... "

  Bletch: "Yeah, I got a plan for you -- prison."

[They take Ingram into custody and remove him from the office. Frank, who
is still standing by the security console, then hits a key on the keyboard
which turns off all the monitors. He looks at the blackened screen.]


SATURDAY
10:02 AM


[Outside, the Black residence. It is a beautiful sunny morning. Frank and
Jordan are on their front steps. He is mending a kite for Jordan. She is
putting a pair sunglasses on her father. She then stands behind him, raising
his shirt collar.]

[Peter Watts pulls up in his car, parking it across the street. He steps up
of the car with an envelope in his hand. Jordan sees him.]

  Jordan: "He was here before, in your office."

  Frank: "I know. Be right back."

[He hands her the kite, gets up, walks down the steps, through the gate and
crosses the street to speak with Peter. Jordan stands there watching them,
kite in hand. Catherine comes to the door, opens it and stands watching them
too.]

[When Frank reaches Peter, he removes his sunglasses.]

  Peter: "Looks like the body count's going to hold steady at four."

  Frank: "Could have been worse."

  Peter: "It would have been a lot worse, if you hadn't
  found him." (pause) "Thought you'd better have this."

[He hands Frank the envelope. Inside are the file and the video from the drug
trial.]

  Frank: "David Marx? Did you see it?"

[Peter doesn't answer him directly.]

  Peter: "Why you were at that trial... whatever you
  were after... "

[He looks over towards Jordan, then back at Frank.]

  Peter: " ...that's your business."

[He turns to leave.]

  Frank: "Peter. Thank you."

  Peter: "I'll see you."

[Peter gets into his car and Frank walks back to the gate, looks up and sees
Catherine sitting on the steps with Jordan, waiting for him to return.]

[FINAL SCENE: Inside. Frank shows Catherine the David Marx file. He shows
her the black and white photo of himself, with his hands and head resting
against the broken glass.]

  Frank: "No secrets."

[She looks through the photos and sees the one where he's looking directly
at the camera.]

  Frank: "I got drawn into these trials because I wanted
  to find out something. A few weeks ago, when Helen was
  abducted, something happened that made me wonder... if
  Jordan has this thing... that I have."

  Catherine: "I know that you don't want her to see the
  things that you've seen."

  Frank: "We don't want her to live in a world where
  those things exist, but she does. And if Jordan has
  any part of my gift... then we'll be there, to guide
  her."

[He holds his wife's face cupped in his hands when Jordan comes running into
the room.]

  Jordan: "Daddy, Daddy, Daddy!"

  Frank: "Yes!"

[He lifts her up and carries her.]

  Jordan: "Come and see what Benny can do!"

[He carries her into the other room.]

  Jordan: "I taught him myself."

  Frank: "You did?"

[Catherine sits alone with the file in her hands. Offstage, Jordan can still
be heard.]

  {Jordan: "Okay, Benny, sit. Good boy! Good boy!"}

 
[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

Co-Starring

Ron Suave (Tardot)
Dee Jay Jackson (G.J.)
Alison Matthews (Sandy Geiger)
Cheryl Mullen (Sal)
Nancy Kerr (Personnel Chief Dana Flender)
[Arthur Corber] (Moxie)
[Kym Sheppard] (The Trial Nurse)
 
Casting by Rick Pagano / Debi Maniwiller, C.S.A.
Vancouver Casting by Coreen Mayrs
Original Casting by Randy Stone, C.S.A.
Production Manager: Kathy Gilroy-Sereda
First Assistant Director: Jack Hardy
Second Assistant Director: David Klohn
Set Decorator: Louise Roper
Art Director: James Steuart
Construction Coordinator: Mike Rennison
Script Supervisor: Beth Mercer
Location Manager: Matthew Chipera
Hair Stylist: Brenda Gibson
Makeup Artist: Natalie Cosco
Special Makeup Effects: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Jenny Seinen
Sound Mixer: Patrick Ramsay
Camera Operators: Trig Singer, Mike Wrinch
Gaffer: Barry Donlevy
Key Grip: R.K. Hill
2nd Unit Director of Photography: Les Erskine
Property Master: Kimberley Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: James Perenseff
Extras Casting: Lisa Ratke
Assistants to Chris Carter: Mary Astadourian, Joanne Service
Production Coordinator: Isabel Johnson
Post Production Supervisor: 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
Re-Recording Engineer: Steven Coker
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Jim Thomson, Robert Hudson
On-Line Editor: Bob Minshall
DaVinci Colorist: Philip Azenzer
Visual Effects by Area 51
Visual Effects Supervisor: Glenn Campbell
Visual Effects Producer: Tim McHugh
Main Title Sequence by Ramsey McDaniel / Storm Media
Processing by Gastown Labs
Telecine by Gastown Post
Electronic Assembly by Encore Video
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) 1997
Twentieth Century Fox Film Corporation
All Rights Reserved #4C15

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

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

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

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

Last Updated: June 08, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net