M I L L E N N I U M

"POWERS, PRINCIPALITIES, THRONES AND DOMINIONS"

Ep. # 1.19  [MLM-118  (4C18)]

[ Part 2 of 2 ]

[ First Season ]  (Complete Transcript)

U.S. Air Date: April 25, 1997

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

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


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


[OPENING SCENE: A man walks out of a store carrying a bag of groceries
and heads for his car in the parking lot.]

[A young man in a leather jacket leaning on a car, watches the first man
as he walks past him. He continues to stare at him as he reaches his car,
opens the rear door and places the bag of groceries inside the car and
shuts the door. As he is about to open the front door... ]

[... the young man, who is standing a car away from him, shuts his eyes
and draws in a deep breath... ]

[... the first man pauses as the young man opens his eyes, letting out his
breath. The first man turns to look at the young man... ]

  Young Man: "By Uriel... and by Raziel... powers,
  principalities, thrones and dominions... I bind and
  command you: Stand!"

[Just then Frank can be seen coming out of the store, walking towards the
parking lot. He sees both men ahead of him. From his POV he sees... ]

[... the young man stretch out his right arm, empty hand extended, palm
down, towards the other man.]

  Young Man: "I, Sammael, bound by his will... command
  you: Depart!"

[Our POV: and that of the bystanders, there is a gun in the young
man's hand, which he is pointing at the other man.]

[Frank stands and watches as... ]

[... Sammael's out-stretched empty hand fires a bolt of lightning at the
other man, striking him in the chest. Frank hears thunder.]

[Our POV, we see and hear the gun being fired.]

[People scream. Some run in one direction or another in panic as Frank
tries to make his way through.]

[Our POV: Sammael lowers his arm to his side, letting the gun fall to the
ground.]

  Sammael: "Die, you son-of-a-bitch."

[Frank walks over to the man, and tries to find a pulse. Finding none,
he walks over to Sammael, cautiously puts up a hand as he reaches down
to pick up the gun. The gun hasn't been fired. The hammer is still back.
He uncocks the gun and looks at Sammael.]


[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]


"Paranoia is just
a kind of awareness,
and awareness is just
a form of love."

Charles Manson


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


[Episode credits roll during the next scene]


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

and

Bill Smitrovich (Lt. Bob Bletcher)

Guest Starring

Richard Cox (Alistair Pepper)
Robin Gammell (Mike Atkins)
Rodney Eastman (Sammael)
Sarah-Jane Redmond (Lucy Butler)

Music by Mark Snow
Editor: George Potter
Production Designer: Mark Freeborn
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Creative Consultant: Walon Green
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 Ted Mann & Harold Rosenthal
Directed by Thomas J. Wright


BELLINGHAM, WASHINGTON
FOUR DAYS EARLIER


[SCENE: It is day and raining heavily outside of a house in a somewhat
rural area. A Bellingham squad car pulls up to the house. A flash as from
a camera can be seen from a second-floor window. Several local people are
milling about with umbrellas. An officer steps out of the car and heads
for the house.]

[Inside. There are numerous officers and detectives at the crime scene.
Candles are lit throughout the room. Several of them are dusting for
prints, measuring off sections of the rooms, taking photographs as Peter
Watts describes the room to someone on his cell phone.]

  Peter: "There's a summoner's circle on the floor.
  The body's on an altar. Blood drained into a chalice.
  Ceremonial candles. Signs of Lucifer on the wall.
  Inverted crosses. There's a grimoire."

[An ancient-looking book lies open on a stand. One page has a sketching
of an arch with the name: `PHAESTOS' and the other page is a sketching of
a woman standing with an inverted cross in her right hand and a candle
lit at both ends in her left. Above it is scrawled: `IN SHADOW OF THE
GOLDEN FIRE.']

  Peter: "There's not much that isn't here, Frank."

[He turns the page and there are more sketches of winged demons, various
symbols including the inverted pentagram.]

[POV shifts to the Black residence. Frank is seen talking on the phone
and Catherine is seen in the foreground writing at the kitchen table. The
perspective alternates between the two during their conversation.]

  Frank: "You've had experiences with these kinds of
  situations before."

  Peter: "Some, yeah. Not like you've had. This doesn't
  seem to be the type I've seen before."

  Frank: "If you're asking, Peter, I'm not ready to
  come back to work yet."

[Catherine is carefully listening to Frank's end of the conversation.]

  Peter: "I can probably handle this myself. I get in
  trouble, I'll give you a call. You take care."

  Frank: "Okay."

[He hangs up the phone and turns to face Catherine. Neither say a word.]

[At the crime scene, the investigation continues. Peter speaks with Det.
Damon Rummer.]

  Peter: "Was the victim the only occupant of the
  residence?"

  Rummer: "Yes, sir. He, uh, he lived here by himself.
  He was a deacon at the First Immanuel Church."

[Peter looks across the room as two detectives move past a window. He
then sees the young man, Sammael, standing outside the window on the
ledge looking directly at him.]

  Rummer: "Active in Promise Keepers."

[Another detective begins walking past the window, momentarily obscuring
Peter's view but when he has passed... ]

  Rummer: "There's no way he would have been involved
  in any of this."

[...Sammael is gone.]

  Detective: "No way."

[Peter makes his way over to the window to look outside. It is still
raining as he looks down at the narrow ledge outside and at the officers
below. The room is on the second floor. He turns to face the detectives.]

  Peter: "Did anybody see that?"

  Rummer: "See what?"

  Peter: "The kid out here on the ledge looking in."

[The detective doesn't answer but an officer near him shakes his head.
Peter turns back to look out the window and is puzzled at the young man's
appearance and disappearance.]

[Meanwhile, at the Black residence, Frank is in his bathroom, washing
his face, cleaning his ears and running his fingers through his hair when
Catherine appears at the door. As he dries himself with a towel, he sees
her reflection in the mirror.]

  Frank: "Hey."

  Catherine: "Hey. Peter asked for your help, didn't
  he?"

  Frank: "Yeah, but he doesn't need it."

  Catherine: "You knew it was coming."

[He buries his face in the towel and keeps it there.]

  Frank: (muffled) "I'm not ready. Not yet."

  Catherine: "You knew it was just a question... "

[He finally removes the towel as they look at one another through the
mirror.]

  Catherine: "Something you've been asking yourself... "

  Frank: "A question?"

  Catherine: "Of when." (pause) "You can't deny who you
  are, Frank... to yourself or to me."

  Frank: "I've lost my concentration. After Bob... "

  Catherine: "You have to come to terms."

[Long pause, then Frank sighs and finally turns to face his wife.]

  Frank: "You know... I forget sometimes... I think
  I'll give him a call... then I remember... Bob's
  dead. Murdered here in our house."

[He sits down on the edge of the bathtub.]

  Catherine: "You have to go back to work. I don't see
  any other choice for you. If we let things go on this
  way... it's only a matter of time... "

  Frank: "Until what?"

  Catherine: "Until something gives."

[Another long pause. When Jordan calls out from the other room... ]

  Jordan: "Daddy?"

  Frank: "In here, honey."

[She enters the bathroom and he picks her up and sits her on his lap.]

  Jordan: "Are you staying home from work today again,
  Daddy?"

  Frank: "What do you have to say about it?"

  Jordan: "I don't know. Are you?"

[Frank looks to Catherine before replying.]

  Frank: "No, but I won't be far away. And I'll come
  home for dinner, okay?"

  Jordan: " 'Kay."

[NEXT SCENE: The police station in Bellingham. Frank is looking at several
photographs, the first two of which are of that etching with the name,
`PHAESTOS'. Both have a ruler placed near the image in order for size and
scale to be established. The third is of the body on the altar. Frank
continues to look at the photographs throughout.]

  Rummer: "Mr. Black? We're not, uh... how should I
  say, uh, a- accustomed to the nature of this style
  of homicide. Our perpetrator eviscerated his victim.
  Gutted him and stored his organs in clay pots."

[Peter Watts is also present. Frank looks at the photos of the bloodied
clay pots.]

  Frank: "Lungs, heart and brain in separate pots?"

  Rummer: "Yes."

  Frank: "They're called canopic jars, used by ancient
  Egyptian embalmers to store and preserve the organs
  of their clients."

[There are also several young officers in the room.]

  Rummer: "All this filth came from the kill site.
  Eddie, uh, the victim, he... ran the lighting store
  down on Bayne Street."

[Frank is looking at an object -- the book from the stand? -- sealed in an
evidence bag.]

  Rummer: "The way he was killed, there are rumors
  going around, people are pretty upset. I- I think we
  need to move very quickly on this, Mr. Black."

  Frank: "Yes, I understand."

  Rummer: "I'd like to give the public some quidelines
  on how best to protect themselves and their families."

  Frank: "I'd say as little as possible, for now."

[He looks over at Peter.]

  Rummer: "Okay. After you see the remains, uh, perhaps
  you could give me some guidance. I'd, uh, I'd really
  appreciate it."

[Frank nods.]

  Rummer: "You do understand?"

[Frank doesn't reply.]

  Rummer: (to Watts) "Mr. Watts."

[Frank and Peter look at each other in silence.]

[NEXT SCENE: The mortuary. Undertaker Phil Brice examines the body and describes his conclusions to Frank and Peter.]

  Brice: "I feel confident the cause of death was
  the knife wound to the neck. With the carotid artery
  severed the blood flow to the brain would cause the
  victim to lose consciousness very quickly. Death would
  follow from the massive hemorrhaging."

[Frank sighs deeply. The four clay pots can be seen on a counter top.]

  Brice: "That would fit with the preparation of
  the organs. The Egyptians preserved their distinguished
  dead in similar fashion... with mineralized salts,
  other compounds."

  Peter: "You're knowledge of these things... they're
  of professional interest to you?"

  Brice: "I've studied their techniques."

  Rummer: "Phil's the undertaker but he's been county
  coroner now for the last 5 years."

  Brice: "I'm not a doctor, understand. I'm in mortuary
  science. Anyway... "

  Rummer: (to Brice) "You think Eddie knew what
  was happening to him?"

  Brice: "Possible."

[Frank stares straight ahead as he has a vision.]

[He flashes on Bletcher's death. He sees Bletcher struggling with
someone. A flash of white light (lightning?) reveals that it is Lucy.
In her left hand is a knife which she is using to attack Bletcher from
behind. The flashes of white light continue throughout. Then the image
becomes that of Bletcher, already dead with his throat slashed and
suspended up on the rafters of Frank's basement. The last images are of
the knife as it cuts through Bletcher's throat. Blood is everywhere.
Vision ends.]

  Brice: "The brain can live for a few minutes without
  oxygen."

[Frank swallows hard but can stand no more.]

  Frank: "Excuse me, I have to go to the restroom."

[He leaves. Peter watches him leave.]

[Afterwards, Peter waits for Frank in the display room where several
coffins stand ready for inspection. Frank steps out from the restroom.]

  Frank: (exhales deeply) "May be too soon, Peter.

  Peter: "I pushed you. Shall I find somebody to drive
  you back to the city?"

  Frank: "No, I'm going to take a walk, collect myself."

  Peter: "I didn't tell you, Frank. There's something
  I need your head on. Something I saw... after we got
  off the phone."

  Frank: "What?"

  Peter: "I saw a kid looking into the second-story
  window of the crime scene. No ladder. No trace of
  him. It was strange to me."

  Frank: "Was there something else?"

[Peter nods.]

  Peter: "Yeah."

[He hands Frank an envelope. They walk over to one of the closed coffins.
Frank wipes his hand over one of them before placing the envelope on top
of it.]

[He removes its contents: photographs. The top one is of several of
the local people standing outside the house where the murder took place.
A woman in the foreground stands with an umbrella. Behind her, well off
in the background is a figure Peter has circled. It is the same young man,
Sammael, who stood outside the window looking directly at him at the crime
scene.]

  Peter: "Spectators at the crime scene. That's the
  guy I saw."

  Frank: "You always hope for a break... that maybe
  the killer will return to the scene... for his
  thrills."

  Peter: "But you don't think so this time?"

  Frank: "I don't feel I should even try to comment.
  My clarity on this is not what I'd hoped."

[One last look at the photograph of Sammael before... ]

[... he can be seen walking up to, then standing behind a tree in a park
across from a children's amusement park, `Adventure Land.' Several small
children are playing.]

[Then a man can be seen looking at Sammael from a distance. He turns and
walks along as we see... ]

[... some other children walking past a baby carriage. Inside, the baby
plays with a toy. The baby-sitter is sitting near the carriage reading a
magazine. When she hears a sound from the baby, she gets up, brings with
her a small bottle and gives it to the baby. She then steps away for a
moment.]

[This man now appears near the baby carriage. In his right hand is a small
knife. The baby looks up as the man approaches.]

[The baby-sitter can be seen having a drink at a nearby water fountain
as... ]

[The man comes up behind her, grabs hold of her forehead with his left
hand and slits her throat with his right. Blood splatters onto the
fountain.]

[She gasps for breath as he drops her to the ground. Then he drops the
knife as well before walking away as the girl lies dying. The blood can
be seen in the fountain as the water continues to run, washing only part
of it away.]

[At the mortuary, Det. Rummer and Brice enter the display room where Frank
and Peter have been talking.]

  Rummer: "Mr. Black... I can't wait. I need to tell
  the people of this town something or you've got to
  give me a good reason not to."

[Frank doesn't answer but looks to Peter to do so.]

  Peter: "We don't think this man has killed before...
  or not often. He'll be excited, high on his success.
  He'll want to enjoy the sensation that he's caused.
  It's unlikely he'll feel the need to kill again soon." 

  Rummer: "Soon? Well... how long is soon? One week?
  One month?"

[Two officers enter.]

  Officer: "Chief... We got a homicide. Baby-sitter in
  Park Verden Playground. Some guy cut her throat in
  broad daylight."

  Rummer: "Did we get him?"

  Officer: "He's in custody. Miller and Trautman are
  bringing him in now."

  Rummer: (to Frank and Peter) "Well, I guess my
  question's been answered."

[Then Rummer, Brice and the officers leave Frank and Peter behind in the
display room, looking at one another in silence.]

[NEXT SCENE: An interrogation room at the Bellingham police station. The
man who killed the baby-sitter is being questioned by Rummer. An officer
stands guard in the room. Also present are Frank, who stands quietly by the
closed door and Peter who sits at the table with the suspect and Rummer.]

  Rummer: "We've got witnesses. We've got the murder
  weapon. We got you, Martin."

  Martin: "I want a lawyer."

  Rummer: "Oh, he's coming."

[Peter rises from the table to speak with Frank.]

  Rummer: "You used the same knife on Eddie Pressman
  you used on the girl?"

[Martin does not respond but he smirks instead and looks directly at
Frank.]

  Peter: "We got our guy, Frank. No reason for you to"
  stay around if you'd rather leave."

[Frank notes the taunting stare Martin is giving him. The smirk, the smile
behind his eyes. He again flashes on Bletcher's murder.]

[He sees flashes of bright white light (lightning) throughout. Bletcher
struggling with someone who has grabbed him from behind. This time the
figure behind Bletcher is partially obstructed by one of the unfinished
beams in Frank's basement but what is visible no longer looks like Lucy
but a man. He sees the knife slashing Bletcher's throat. And finally, an
image, again only partially visible of the killer: only the left eye and
part of the head and hair can be seen. It somewhat resembles Lucy but...
it could have been someone else. Vision ends.]

  Frank: "I think that it would be better."

[Peter nods and Rummer walks over to join them.]

  Rummer: "Anybody can be wrong, Mr. Black. The guy
  left his prints all over Pressman's house. The
  important thing is accomplished. We got him. Thank
  you."

[He shakes Frank's hand. He turns and goes back to his seat to continue
the interrogation.]

  Frank: (whispers to Peter) "Ask him about the man at
  the window."

  Peter: (whispers) "I will."

[Peter returns to the table as Frank again looks at Martin who had been
staring at him throughout. Frank turns, opens the door and leaves the
room.]

[Out in the squad room, a man shuts a briefcase and looks up as Frank
walks through the room towards him. He walks up and introduces himself to
Frank and shakes hands with him.]

  Pepper: "I'm Al Pepper, counsel for the accused."

  Frank: "Frank Black."

  Pepper: (smiling) "I'll see you when you get back."

[He walks past Frank and heads toward the interrogation room. Frank turns
to watch him.]


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


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


[NEXT SCENE: The Black residence, night. Inside, Frank are Catherine are
eating dinner as they discuss the investigation.]

  Catherine: "How did everything go today?"

  Frank: "Strange. I shouldn't have gone back. Now I'm
  wondering why I did it."

  Catherine: "You said they had a suspect? They arrested
  somebody for the crime?"

[Frank nods.]

  Catherine: "You don't have to go back, do you?"

  Frank: "No."

[He gets up from the table, takes his plate with him, and heads for the
sink.]

  Catherine: "But you're going back anyway."

  Frank: "This case... I have a feeling it involves me
  in some way -- some way I'm not clear about yet."

[Catherine walks over and stands behind him.]

  Catherine: "Are you going to be able to sleep?"

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

[Catherine leaves him alone as he washes his dinner plates.]

[He goes down to the basement and looks up at the rafters where Bletcher's
body was found.]

[Later, Frank's computer screen can be seen with the word: `PHAESTOS' as
he speaks with Peter by phone.]

  Frank: "The Greek word `PHAESTOS' from the open page
  of the grimoire... "

  {Peter: "Do you know what that is?"}

  Frank: "No, but it's not meaningless. It may have
  been to the killer... "

[POV shifts to Peter.]

  {Frank: "... but it's significant apart from him."}

  Peter: "I'm not sure I understand."

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

  Frank: "It's a signature, I think."

  Peter: "Whose? The killer's?"

  Frank: "Unlikely. The ritual elements at the murder
  scene were drawn from a wide variety of different
  mystic traditions. Stage dressing -- the work of a
  schizoid fantasist, lacking any spiritual seriousness."

  Peter: "Then who wrote it?"

  Frank: "Someone who states his presence nearby. It's
  intended as a message."

  Peter: "To whom?"

  Frank: "To me, I think."

  Peter: "You want to run that by me, Frank... before
  I run it by him?"

  Frank: "I'm not so sure you have the right guy, Peter."

  Peter: "It's pretty well checked out. I was just about
  to go home, actually. You want me to hold off?"

  Frank: "Would you mind?"

  Peter: "I'm here as long as you need me."

[Peter hangs up the phone. POV stays with him. He'd been using a phone in
a small office at the police station in Bellingham. Through the open door,
he sees Mike Atkins. Peter walks over to greet him.]

  Peter: "What are you doing here, Mike?"

[They shake hands.]

  Mike: "Got a call. Heard you could use some help."

  Peter: "From whom?"

  Mike: "Frank."

  Peter: "Frank?"

  Mike: "Well, he told me he'd meet us back here in
  the morning. He told me the case would take an
  unexpected turn."

[Peter remains silent but looks puzzled.]

[Later that night, as Frank and Catherine are asleep, the front door can
be heard closing. Frank hears the sound, checks to see if Catherine is
still asleep and gets out of bed.]

[He goes down the stairs to the living room where he sees... ]

[... Bletcher sitting in chair, trying to say something to him but there
is no sound.]

[Startled by the nightmare, Frank again wakes up, checks to see if his
wife is still asleep, gets out of bed and goes down to the living room.
This time the chair is empty.]

[Relieved that it was only a dream, Frank passes a hand over his face as
Catherine comes down the stairs.]

  Catherine: "Is it Bob?"

  Frank: "He was trying to say something. It seemed
  so real."

[Together, they go back up the stairs. In the hallway, they stop and talk.]

  Frank: (whispering) "It was so real."

  Catherine: "It's a subconscious influence to be
  expected. You're going to filter everything through
  your emotions for a while."

  Frank: "This was different. I felt it yesterday when
  we were interviewing the suspect."

  Catherine: "You felt Bletcher?"

  Frank: "It's as if he knew him... or knew something
  about him. Unless I'm losing my ability."

  Catherine: "Is that what you think?"

  Frank: "I think I've lost my trust in it."

[NEXT SCENE: Bellingham, the next day. Peter and Mike stand by the water
fountain in the park where the baby-sitter was slain. Frank pulls up in
his Jeep and heads over to join them.]

  Mike: "Frank."

  Frank: "Hey, Mike."

  Mike: "You didn't call me, did you?"

  Frank: "Call you?"

  Peter: "Somebody's been impersonating you, Frank.
  Asked Mike to meet us out here. Said the case was
  turning."

  Mike: "The strange thing is, it's true."

[Frank looks around at everyone in the park, trying to find whomever may
have orchestrated their meeting there.]

  Frank: "What do you mean?"

  Peter: "The two motorists who claimed to have seen
  Martin attack and kill the nurse, failed to identify
  him in the lineup and they were certain that they
  could."

  Frank: "What about the physical evidence?"

  Mike: "Martin's bloodstained jacket was sent to the
  lab in Seattle. When it arrived, they couldn't find
  any bloodstains on it."

[Frank had been wringing his hands throughout. Then walks over to the
fountain and splashes some water on his face.]

  Peter: "We've established with a fair degree of
  certainty that the same knife that was used in the
  satanic killing of Pressman was used on the baby-
  sitter here."

  Frank: "Martin did the killings?"

  Peter: "Every piece of evidence that links him
  directly with either killing is lost, tainted
  or otherwise compromised -- including Martin's
  fingerprints on the knife which was wiped clean
  *after* it was admitted to the property room."

  Frank: "Why?"

  Mike: "Most people'd be asking *how*. You told Peter
  this involved you. What did you mean?"

  Frank: "There may be a link between Bob Bletcher's
  murder and these killings."

  Peter: "You think Martin killed Bletcher?"

[Frank doesn't reply.]

  Frank: "What about Martin's attorney? What do we
  know about him?"

  Peter: "Not much yet, but he's been asking to see
  you."

[Back at the Bellingham police station, Pepper sits alone at a table in
Interview Room #103 with a legal pad, writing the name `PHAESTOS' on the
page. He finally tears the sheet from the pad, crumbles it and tosses it
into a waste basket across the room.]

[As Frank enters, Pepper rises to greet him. They shake hands.]

  Pepper: "Alistair Pepper, representing the accused.
  Just call me Al, Mr. Black."

  Frank: "Alistair."

  Pepper: "The name... carries some... notoriety in
  certain circles. Please... "

[He gestures for Frank to sit down, which they both do.]

  Pepper: "I find the association distasteful. I go by
  `Al.' "

  Frank: "I see."

  Pepper: "I was hoping to talk to you earlier but you
  were unavailable."

[Frank shakes his head.]

  Pepper: "In the interim, things have changed. I'm not
  privy to all the details but I understand there've
  been certain evidentiary problems concerning both of
  my client's pending matters."

  Frank: "I won't discuss it."

  Pepper: "I am confident that I can defend my client,
  Mr. Black -- almost certainly see him set free. I am
  also very aware that... it is very likely that he
  committed the crimes of which he's accused."

  Frank: "Yes."

  Pepper: "It might better serve him to concede a degree
  of guilt in these current matters, accept his sentence
  and serve his time."

  Frank: "Why?"

  Pepper: "Why? In an institutional setting, Mr. Martin
  might avail himself of therapeutic services. He might
  be rehabilitated."

  Frank: "I have no authority to bargain on the court's
  behalf or anyone's."

  Pepper: "Except your own, Mr. Black."

[Long pause.]

  Pepper: "I have a very successful law firm. I'm
  looking to expand. I need an investigator -- someone
  with... your abilities."

  Frank: "You remind me of someone. Have we met before?"

  Pepper: "I seem to be blessed with a familiar face."

  Frank: "Oh."

  Pepper: "I am offering you a partnership. Name your
  salary. Name your hours. Design your own benefits
  package."

[Frank stands up... ]

  Frank: "I'm not interested."

[... Pepper rises too.]

  Pepper: "I know that you are unhappy in your current
  circumstances, Mr. Black. That would all change. You
  and your loved ones would be safe... well out of 
  harm's way. I can't make the legal advice I give to
  Martin contingent upon your accepting my offer.
  Unethical. But you think about it. I know you'll have
  many questions. I will be happy to answer all of them,
  anytime."

[He picks up his briefcase and heads for the door.]

  Frank: "Why?"

[Pepper stops and turns to face Frank.]

  Pepper: "Except that one."

[He smiles, then leaves.]

[Frank bends down and picks up the discarded paper from the waste basket
as Peter and Mike enter the room.]

  Frank: (to Peter) "Did Martin's lawyer have access
  to the evidence? Could he have seen this?"

[He shows Peter the paper with `PHAESTOS' written six times, each appears
to have been written by a different hand.]

  Peter: "No, I don't see how he could have."

[NEXT SCENE: Outside, the courthouse. Inside, Martin's arraignment, Judge
Myers presiding. Also present are: Det. Rummer, Frank, Peter and Mike.]

  Myers: (to the prosecution) "You've asked the court
  to deny bond."

  ADA Fisher: "Your honor, Mr. Martin is charged in
  connection with two crimes of extreme ferocity."

[As the ADA continues, Martin turns around and looks directly at Frank... ]

  ADA Fisher: "He constitutes a continuing menace to
  society."

[... who, at first, doesn't give it much importance but then stares right
back at him... ]

  ADA Fisher: "I hope to be able to provide the court,
  very promptly, with compelling evidence supporting
  the state's opinion."

 -- neither one blinking.]

  Judge: "Until you do, Mr. Fisher, defendant Martin's
  prior petty criminal convictions... "

[Pepper, noticing this at last, also turns to look at Frank. Frank returns
Pepper's stare.]

  Judge: "... suggest he's more likely to present
  society with an inconvenience than a hazard. Mr.
  Martin?"

[The staring game is over as Martin's attention is drawn by the judge and
he turns back to face her.]

  Judge: "You've stolen a large number of car batteries."

[Frank, Peter and Mike show their frustration and incredulity at the sole
remaining charge against Martin.]

  Martin: "Sorry."

  Judge: "All right, before I set bail, Mr. Pepper, do
  you have anything to say that would bear on the amount
  of bail?"

  Pepper: "My client has instructed me he is not seeking
  bail at this time, preferring to await his vindication
  and release."

  Martin: "Can I confess something, your honor?"

  Judge: "Mr. Pepper?"

  Pepper: (to Martin) "We should discuss any statement
  that you're planning to make."

  Martin: (ignoring him) "I cut a detective's neck in
  Seattle."

[Frank reacts to the confession.]

  Martin: "I left him hanging on a basement wall.
  Bletcher. Bob Bletcher was his name."

[Both Frank and Peter lean forward in their seats.]

  Martin: "I don't know why but it's been... bothering
  me."

[Peter sits back but looks over at Frank, who continues to stare at Martin
-- neither is able to say a word.]


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


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


[NEXT SCENE: Outside, the Bellingham Public Safety Building. The young man,
Sammael, is sitting on a bench outside the building, reading a newspaper.]

[Inside, Frank waits for Mike who brings him some news.]

  Mike: "Martin's attorney's agreed to his being moved
  to Seattle."

  Frank: "I think the victim was ritualistically
  slaughtered to get the Millennium Group involved --
  to get me involved."

  Mike: "The kid's a punk, Frank. What you're suggesting
  is a sophistication beyond his intelligence or
  competence."

  Frank: "Someone turned his limited wit to their
  purpose. He's being controlled."

  Mike: "Who are you talking about?"

  Frank: "Martin's lawyer. He knew I was coming back.
  He said so. The evidence disappearing made sure of
  it."

  Mike: "This guy Pepper?"

  Frank: "Why are you here? Who called you, Mike?
  This kid Martin?"

  Mike: "Nope. I don't think so."

  Frank: "I think you should be leaving, soon."

  Mike: "Why is that?"

  Frank: "I'm not certain but I think there's a process
  going on which could be dangerous."

  Mike: "I'm staying, Frank. There isn't even a 
  discussion."

  Frank: "Will you find out everything you can about
  Martin's lawyer?"

  Mike: "Sure. What are your plans?"

  Frank: "Spend some time with Martin and get a feel
  for him. He likes to talk."

[Out in the squad room, Det. Giebelhouse is there along with Peter, Det.
Rummer and ADA Fisher. Frank had been watching as Giebelhouse arrived and
was greeted by Peter.]

[Frank shakes hands with him.]

  Frank: "Thanks for coming."

  Giebelhouse: "Wanted to see the son-of-a-bitch. Look
  him in the eyes."

  Frank: "All we have is a confession. We still have
  to prove it out."

  Rummer: "Martin's on his way from holding."

[The doors open as three officers escort a shackled Martin into the squad
room. The short man seems even more dwarfed by the height of his escorts.]

  Giebelhouse: "This him? This little snot ball?"

  Frank: "I'll be riding back to the city with you and
  the prisoner."


SECURITY ENTRANCE
SEATTLE PUBLIC SAFETY BUILDING


[NEXT SCENE: The car with Frank, Giebelhouse, Martin and another detective
pulls into the garage of the Seattle P.D.]

[A number of officers and detectives have gathered waiting to get a glimpse
at Bletcher's murderer. Also in the crowd is Sammael.]

  Giebelhouse: "Look's like we have a welcoming
  committee."

[Frank looks over to his left and spots Sammael who then turns and runs
out of the area.]

  Giebelhouse: "Come on, folks, let's move it!"

  Frank: "Open the door, let me out!"

[The other detective gets out of the car and opens Frank's door. He runs
out of the garage but has lost sight of Sammael.]

[In the squad room, Giebelhouse is with ADA Mills who will be handling the
Bletcher murder charge against Martin in Seattle. Another detective hands
the woman the case file.]

  ADA Mills: "Mr. Black."

[They shake hands.]

  Frank: "Are you going to give us an indictment?"

  ADA Mills: "He was in town during the right time
  period. Got a bus ticket. Driver saw him get on
  and off. We'll be able to get an indictment off
  of Martin's confession."

  Frank: "But there's no evidence linking him to
  Bletcher's killing."

  ADA Mills: "He may recant his confession. His
  attorney may argue that the manner in which he
  confessed is proof of unreliability. Detective
  Giebelhouse says that he's sure this guy killed
  Bletcher. He says you're sure of it too."

  Frank: "I'm not so sure."

  Giebelhouse: "What?"

[Down in the holding area, two officers lock Martin up in a holding cell.
The cell is barren except for two cots and a toilet.]

[Once the officers leave, Martin walks over and sits down on the toilet.
He then produces a razor blade, cuts across his left thumb and shuts his
eyes.] 

[NEXT SCENE: Frank arrives home. He's parked his car in the driveway and
walks around it to head for the front door. He notices a car parked in
front of his house.]

[Inside, he sees Jordan playing on the floor in the living room and his
wife sitting on the couch. He hears a man's voice talking to her.]

  Man: "Well that is the picture, Mrs. Black. I know
  you want to do some checking and of course you'll
  want to talk to Frank but, um... how does it sound?"

  Frank: "Catherine?"

  Catherine: "Frank? I'm so glad you're home."

  Jordan: "Hi, Daddy!"

  Frank: "Hi. How's my girl?"

[As he enters the living room, the man is finally shown to be none other
than Pepper.]

[Frank kisses his daughter on her head and embraces Catherine.]

  Pepper: "Hello, Frank. I hope, uh, I hope you don't
  mind, Frank, but I was in the neighborhood and I just
  dropped by on the chance that you might be in. And I
  met your lovely wife."

  Catherine: "Mr. Pepper said you and he were working
  together."

  Frank: "Catherine, will you take Jordan upstairs?
  There's something I want to discuss with Mr. Pepper."

[Catherine picks up Jordan as she starts to complain.]

  Jordan: "Oh, Daddy, do I have to?"

  Frank: "Yes, we're just talking boring business."

  Catherine: "Come on, I'll give you your bath."

  Pepper: "Good night, Mrs. Black. A pleasure."

[Catherine doesn't respond but continues on her way towards the stairs.]

  Pepper: "Oh, what a lovely, lovely family. Frank,
  you must be very happy."

  Frank: "Don't ever come to my house. Stay away from
  my family."

  Pepper: "I'm- I'm sorry, Frank. I, uh, I meant no
  offense. I'll leave at once."

[He picks up his coat, opens the door and as he leaves, he offers an
apology... ]

  Pepper: "I would never have come if I had any idea
  that this would upset you. Sincerely, Frank. That's
  the last thing... "

[Frank shuts the door on him as he is speaking. As he turns, he finds
Catherine standing at the landing midway up the stairs.]

[Back at the holding cell, Martin can hear the voice of a man laughing,
then speaking to him. It sounds like Pepper.]

  {Pepper: "Oh, Martin! You be a free man.  Gonna take
  the midnight special out of wicked place soon. See
  that big light coming? Hear the steel wheels on the
  rails?" (laughs again) "Oh, yes! You free, Martin!"

[Martin looks at the razor blade in his hand. He uses it to slice off a
chunk of a soap bar near him. He then takes that piece of soap to stuff
into the key hole of the lock on the door to his cell.]

[He then sits down on the floor, cross-legged and slices across his own
throat, places his hand on the wound and begins screaming.]

[The guards coming running up to the cell door as one of them tries to
open the lock.]

  1st Guard: "Come on, get it open, for God's sake!"

[Martin is gurgling, trying to breathe.]

  2nd Guard: "I'm trying! The key hole's plugged up
  with something! I can't get the key in!"

[Martin collapses against one of the cots.]

  1st Guard: "Martin! Listen to me, Martin!"

  Martin: "Can you speak up? I can't hear you mu- "

[He dies.]

[NEXT SCENE: The morgue. Martin is lying on an examination table. His
wound has been stitched close. Frank and Giebelhouse are standing on
either side of the body. Also present is the pathologist.]

  Frank: "Has anyone determined who passed him the blade?"

  Giebelhouse: "He was clean into the cellblock. That's
  the information we got. It came from another prisoner
  is what I'm hearing."

[The pathologist has placed an x-ray up on a light box and examines it
before speaking... ]

  Pathologist: "The presence of the razor blade has
  produced understandable conclusions about the cause
  of death. But Mr. Martin here didn't die from self-
  inflicted injuries."

  Giebelhouse: "He sure as hell bled from them."

  Frank: "What did he die of?"

  Pathologist: "Well, he missed the carotid artery in
  the neck and the wounds are nothing more than messy
  scratches."

[Giebelhouse has walked over to the light box as the pathologist shows
him the x-ray.]

  Pathologist: "You see this dark area here, in the
  mid-brain? That indicates a massive hemorrhage."

  Giebelhouse: "You're saying the kid tried to ice
  himself, but screwed it up?"

  Pathologist: "He died of an aneurism -- of natural
  causes."

  Frank: "That's what you'll put in your report?"

  Giebelhouse: "You disagree?"

  Frank: "What killed this man was anything but natural."

[Frank leaves.]


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


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


DOWNTOWN SEATTLE


[Frank walks into Al Pepper's office.]

  Pepper: "Frank! I wasn't expecting you but I'm glad
  you stopped by. Would you like to take a look at the
  offices that I've set aside for you?"

  Frank: "I've just seen your show of good faith."

  Pepper: "Really?"

  Frank: "Your client's dead, but you know that."

  Pepper: "Yeah. The, uh, department notified me last
  night."

  Frank: "What I want to know is how you did it."

  Pepper: "Fortuitous and timely, hmmm? Our minor
  conflict of interest has been... resolved."

  Frank: "I don't think so."

  Pepper: "As I've said to you before, you needn't
  make up your mind now. My offer remains open for as
  long... as is necessary."

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

  Pepper: "So you've said."

  Frank: "You killed that kid and I'm going to connect
  you to it."

  Pepper: "Frank, you understand... that life for you
  and your wonderful family can only become more 
  difficult... more dangerous."

  Frank: (angry) "Don't threaten me!"

  Pepper: (softly) "Join me."

[Frank turns and begins to leave.]

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

[Frank doesn't respond, he just leaves Pepper's office.]

[He leaves the building and gets into his Jeep. He slams the palm of his
hand on the steering wheel in frustration and hears his beeper buzzing.
He checks it and sees the message: `2000'.]

[He then calls in using a public phone. The other person is never shown.]

  Frank: "Hey, Mike."

  {Mike: "Where are you, Frank?"}

  Frank: "On my way home."

  {Mike: "Have you heard from Watts?"}

  Frank: "No."

  {Mike: "Called me an hour ago. Said he was going
  to meet me here with you."}

  Frank: "Where are you?"

  {Mike: "At my hotel. I've got something you both
  should see."}

  Frank: "I'm on my way."

[He hangs up the phone.]

[We next see Frank coming out of an elevator at the hotel. Peter is there
in the hallway.]

  Peter: "Frank."

  Frank: "Peter."

  Peter: "He's not here."

  Frank: "He just called me."

  Peter: "He called you?"

  Frank: "Yeah, he told me to meet him here. He made
  it sound urgent."

  Peter: "Who called me? I thought you did."

  Frank: "No."

[They head for Mike Atkins' room, #303. Frank knocks on the door and calls
out to him.]

  Frank: "Mike? Mike!"

[Frank kicks the door open.]

[Inside, Mike is lying naked on the ground, a black sheet covers him and
a pillow is beneath his head. His throat has been slashed and a knife is
sticking out of his chest. He's holding his throat with both hands and
gurgling.]

[As Frank looks from Mike to the open window, he sees a man, dressed in
black clothes with black gloves, hanging from the outside of the veranda.
He then drops down to the ground below. Frank runs to the window, looks
down and sees the man running away.]

  Peter: "Go after him! Go after him!"

  Frank: "Do what you can for him!"

[And he runs out the door as Peter takes out his cell phone and tries to
call for help.]

  Peter: "Hang on, Mike."

[As Frank runs out the main entrance of the hotel, he sees the man running
to his left. He tries to head him off.]

[He runs to the corner, turns left, continues to run across a parking lot
in front of a food store. He sees the man run into the store. Frank enters
after him. From the other corner, Sammael can be seen walking past the
store.]

[Inside the store, Frank walks across the aisles, looking for the killer.]

[In one aisle, he sees Al Pepper. The moment Pepper sees Frank, he smiles
and begins to run through the store. Frank give chase.]

[In the next aisle... Pepper has become Martin.]

[In the next... Lucy.]

[Frank runs down the aisle after Pepper/Martin/Lucy. But he's lost `them.']

[What follows next are the events which opened the show: ]

[A man (Pepper) walks out of a store carrying a bag of groceries and heads
for his car in the parking lot.]

[A young man (Sammael) in a leather jacket leaning on a car, watches as
Pepper walks past him, nodding hello. He continues to stare at him as he
reaches his car, opens the rear door and places the bag of groceries inside
the car and shuts the door. As he is about to open the front door... ]

[... Sammael, who is standing a car away from him, shuts his eyes and draws
in a deep breath... ]

[... Pepper pauses as Sammael opens his eyes, letting out his breath.
Pepper turns to look at Sammael... ]

  Sammael: "By Uriel... and by Raziel... powers,
  principalities, thrones and dominions... I bind and
  command you: Stand!"

[Just then Frank can be seen coming out of the store, walking towards the
parking lot. He sees both men ahead of him. From his POV he sees... ]

[... Sammael stretch out his right arm, empty hand extended, palm down,
towards Pepper.]

  Sammael: "I, Sammael, bound by his will... command
  you: Depart!

[Our POV: and that of the bystanders, there is a gun in Sammael's hand,
which he is pointing at Pepper.]

[Frank stands and watches as... ]

[... Sammael's out-stretched empty hand fires a bolt of lightning at
Pepper, striking him in the chest. Frank hears thunder.]

[Our POV, we see and hear the gun being fired.]

[People scream. Some run in one direction or another in panic as Frank
tries to make his way through.]

[Our POV: Sammael lowers his arm to his side, letting the gun fall to the
ground.]

  Sammael: "Die, you son-of-a-bitch."

[Frank walks over to Pepper, and tries to find a pulse. Finding none,
he walks over to Sammael, cautiously puts up a hand as he reaches down
to pick up the gun. The gun hasn't been fired. The hammer is still back.
He uncocks the gun and looks at Sammael.]

[FINAL SCENE: The Seattle Public Safety Building. Inside an interrogation
room. Giebelhouse and another detective question Sammael as Peter and Frank
watch from another room.]

  Peter: "Mike had been doing some background work.
  He spoke about it briefly. Said he'd found out some
  thing about the attorney Pepper."

  Frank: "I asked him to do that."

  Peter: "Before he passed, he told me that he didn't
  want you blaming yourself. That... "

[Frank sighs.]

  Peter: "You told him to go home, that he was in
  danger."

[Frank rubs his eyes and nods.]

  Frank: "I did." (sighs again)

  Peter: "I read what he put together on Pepper, if
  now's any time."

[Frank nods again.]

  Peter: "Pepper had a successful practice in the
  city -- mostly conveyancing, real estate law. Six
  months ago, he had a heart attack. Apparently, he
  was technically dead for a brief period of time.
  The medical team managed to revive him and after
  his recovery, he changed the focus of his legal
  work. Martin was his first serious criminal client."

[There's a knock at the door. Giebelhouse enters.]

  Giebelhouse: "We've got a confession. Nothing as
  to motive."

[He hands Frank Sammael's statement.]

  Giebelhouse: "The kid admits to killing Pepper but
  claims no part in the death of your associate Atkins.
  I'm sorry. We're done with him for now. You want some
  time with him before he's locked down?"

[Giebelhouse lets Frank into the interrogation room. Sammael is sitting
at a table with his hands cuffed behind him. Frank sits across from him.]

[Outside the room, Giebelhouse locks the door. Peter hands the confession
back to him who exchanges it for the key to the locked interrogation room.
Peter stands waiting outside the door for Frank.]

[Inside... ]

  Frank: "You didn't shoot Pepper, did you?"

[Sammael doesn't respond.]

  Frank: "I didn't see it that way."

  Sammael: "You have a unique perspective."

  Frank: "All along my question has never been `How?'
  or `Who?' but `Why?' Why did you act? Why stop Pepper?"

  Sammael: "His own actions made it possible."

  Frank: "The murders? The baby-sitter? Mike Atkins?"

  Sammael: "No. His future actions. He would not have
  stopped with Atkins."

  Frank: "My family?"

  Sammael: "You must understand... you were not saved.
  He was not prevented from doing harm... to anyone.
  He suffered the consequence of his own error. Any
  benefit to you... to your family, was incidental."

  Frank: "What you did... had nothing to do with me."

  Sammael: "No. There's not that kind of action."

[Pause.]

  Sammael: "I know you grieve deeply at the loss of
  your friends."

[Frank finally allows some emotion to come through as he sighs. His eyes
fill with tears.]

  Frank: "Yes."

  Sammael: "We weep for ourselves."

[Frank stands up, trying to hold his emotions in check.]

  Sammael: "Don't worry about me. What happens here
  can only pain me... not harm me. Good-bye, Frank."

  Frank: "I would like to talk to you again sometime...
  another time."

  Sammael: "I'm sorry. You have no idea how painful it
  is for me to be here."

[Frank knocks on the door and Peter unlocks it.]

  Peter: "Who is he?"

  Frank: "I don't know. Maybe he's part of something
  all of us are otherwise unaware of."

  Peter: "Mike said something like that. It made no
  sense to me. He said something else. He said...
  you should love your family as much as you can and
  be prepared for the possibility that it may not be
  enough."

[Catherine has arrived at the police station. She walks to meet Frank and
take him home.]

  Catherine: "Peter."

  Peter: "Hi."

  Catherine: "Frank."

[They kiss.]

  Frank: "It has to be enough."

  Catherine: "What?"

  Frank: "Nothing. I want to take you home."

[They walk down the hall together, arms around each other's waists and
Catherine kisses Frank on the cheek, as Peter watches.]


[The credit fades in from black... ]


Executive Producer: Chris Carter


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


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

  Voice Over: "Fox May Events: Next Friday... "

  Peter: "There will be another attack."

  Frank: "It's part of the ritual."

  Voice Over: "In the battle between GOOD and EVIL,
  he's our only HOPE."

[A woman screams.]

  Voice Over: "An all-new Millennium."

  Frank: "You got the power to stop this."

  Man: "I know I've got the power!"

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


[End titles roll]


Ten Thirteen Productions
in association with

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

Co-Starring

Alf Humphreys (Damon Rummer)
Guy Fauchon (Martin)
Dean P. Gibson (Phil Brice)
Robert Moloney (Uniformed Cop Adams)
Judith Maxie (Judge Myers)
Allan Franz (Medical Examiner Anderson)
Bonnie Hay (A.D.A. Mills)
[Marya Delver] (Nanny Annie)
[Terry King] (Mike)
[Gerry Nairn] (Lyon)

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: Louise Roper
Art Director: James Steuart
Construction Coordinator: Mike Rennison
Script Supervisor: Kimi Webber
Location Manager: Danny McWilliams
Hair Stylist: Brenda Gibson
Makeup Artist: Carolyn Stewart
Special Makeup Effects: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Jenny Seinen
Sound Mixer: Patrick Ramsay
Camera Operators: Rod Pridy, Mike Wrinch
Gaffer: Blair McDonald
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: Isabel Johnson
Post-Production Supervisor: Denise Pleune
Casting Associate - Los Angeles: Alfred Gomez
Casting Associate - Vancouver: Heike Brandstatter
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark R. Crookston
Re-Recording Mixers: James G. Williams, Bryan Gladstone, Don MacDougall
Re-Recording Engineer: Steven Coker
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: 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 Surround TM where available

Copyright (c) 1997
Twentieth Century Fox Film Corporation
All Rights Reserved #4C19

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

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

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

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

Last Updated: April 28, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net