M I L L E N N I U M

                                        "ILLUMINATION" 

                                           [ Part 1 of 2 ] 

                                       U.S. Air Date: Unknown 

                       Original transcript compiled by: Maria Vitale <nightowl@nyct.net> 

  Legal 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.

 Personal Disclaimer: This Millennium parody, which features many users of the Fox Millennium board, as well as those from the show, is an
   attempt at humour and any characters used, fictional or otherwise, are included purely for the purposes of 'fun', 'laughter' and 'my own
  personal amusement' and anything said or done by such characters should be taken in good faith and not straight to your nearest attorney.
 I've had to take some liberty with certain peoples gender; you might find yourself playing a character of the opposite sex. This doesn't mean
 anything, except that I ran out of people -- I do know what sex you are. Also, certain characters have been left alone, and Frank sees everybody
  as if they are the real characters. If you feel that you have been unfairly stereotyped or have done things within the story that you would not
            normally do, please address any complaints to my new email address: yaddayaddayadda@aol.com. Thank you!

                                           -- Shea Bennett

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

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

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

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

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

Heli: "Yes... you're probably right. The difference is I get to watch it over and over on the video later." 

Patient: (to the nurse prepping him) "Do you want to know what happens at the end of this episode?" 

Melody: "NO! I don't.." 

Patient: "Hmmm... could you do me a favor? I'm desperate to tell somebody about the season finale but no-one wants to know.
Have you got Andre's telephone number?" 

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

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

Heli: "Yeah, well, what're you gonna do? Shouldn't have told us about Bob Bletcher, should you?" 

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

[The patient's heart beat can be heard on a monitor in the background. 

The pulse quickens as the patient begins to feel the effects of the anesthesia.] 

[As he looks around the room, he sees all of the nurses, without their surgical masks on, draped in white gowns and glowing
white light -- each eagerly reading his spoiler posts on the Fox board. As the last one leans in to read... the screen fades to
white.] 

SECURITY WARD 

10:54 PM 

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

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

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

Nurse: "Yes." 

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

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

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

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

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

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

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

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

Marshal: "Nurse?" 

[He slowly walks up to the curtained bed.] 

Marshal: "Nurse? You okay?" 

[He tries to peek through the opening in the curtain but he's struck from behind -- a blow to the head from a fire extinguisher by
the nurse.] 

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

[The camera pans up from the prone marshal to the empty bed, revealing a pool of blood and discarded Ivs. The camera rolls
round to a monitor, which is connected up to the internet, and the Fox board. On screen, a grisly message reads:] 

HERE'S WHAT HAPPENS IN THE SEASON FINALE... [GUY] 

[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) 

created by Chris Carter 

who cares? 

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

[Trademark music cue... ] 

[Episode quotation] 

"I thought I saw a putty-cat. I did! I did! I did!" 

Tweetie-Pie 

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

[Episode credits roll during the next scene] 

Art (playing the role of Catherine Black) 

Rogue (playing the role of Lt. Bob Bletcher) 

with special appearances by 

Shea (playing the role of Peter Watts) 

Maria Vitale (playing the role of Lucy Butler) 

Heli (playing the role of a female Dr. Willmore) 

Melody (playing the role of a nurse) 

Laura (playing the role of Sondra Fabricant) 

Guy (playing the role of Dr. Ephraim Fabricant) 

Mark (playing Special Agent Tom Babich) 

and others 

Music by Mark "Da-Dum" Snow 

Editor: Chris "Snip-Snip" Willingham 

Production Designer: Mark "Drawing Board" Freeborn 

Director of Photography: Robert "Visions" McLachlan 

Associate Producer: Jon-Michael "What Is It I Do Again?" Preece 

Consulting Producer: Ted "I Wrote 4 Eps This Season!" Mann 

Co-Producer: Ken Dennis Robert Moresco 

Producer: Chip "Ah, Producer at Last!" Johannessen 

Co-Executive Producer: Frank "All This and X-Files Too!" Spotnitz 

Co-Executive Producer: Ken "Don't Look At Me!" Horton 

Co-Executive Producer: John "Shea" Kousakis 

Written by Chris "He's Not Psychic!" Carter 

Directed by Winrich "The Pooh" Kolbe 

MOUNT BAKER 

NORTH CASCADES, WASHINGTON 

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

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

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

[Rogue is breathing is a bit more labored than Frank, possibly because he's carrying all the luggage.] 

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

Frank: "Oh, yeah." 

Rogue: "My dad used to take me to the same spot. I come here once or twice a year. It's the only thing in my life that never
changes. Heh, just a littleharder than it used to be. Of course, if you'd carried some of the bags like we agreed..." 

Frank: "The air... the exercise... " (laughs) "You need it more than me!" 

Rogue: "Oh, yeah. Feels like you're a... million miles from nowhere. And we are. I could sure use a port-a-loo." 

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

Rogue: "Something important?" 

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

Rogue: "Jesus, Frank! You do this every week. We climb this blasted mountain and you just leave me up here with 

the bags! Well, this is the last time, I tell you, the last..." 

[Rogue's voice echoes into the distance as Frank walks away.] 

FBI TRAINING ACADEMY 

QUANTICO, VIRGINIA 

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

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

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

Frank: "How did he escape?" 

Mark: "We're still putting the facts together. You were aware that he was removed from prison because he was having his
fingers removed? Later, they were going to be transplanted on to his sisters hands." 

Frank: "Yes. Were the fingers removed?" 

Mark: "He was five hours post-op. His anesthetic should have lasted eight. I've got four doctors who say there's no way he
could have walked out of that hospital room let alone break a federal marshal's jaw and crush his skull. Poor bastard couldn't
escape -- Guy told him what happens in the season finale." 

Frank: "Did the marshal survive?" 

Mark: "He's touch and go. But he won't be tuning in to the show again." 

Agent Matt: "What do you think Guy wants?" 

Frank: "Wants?" 

Matt: "Freedom? To avoid reincarceration?" 

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

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

Mark: "Apparently not. After what he did to that marshal... he told him about the second season opener, as well!" 

Frank: "Dr. Guy wouldn't have left him without revealing if Art stays or goes." 

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

Frank: "I know this man. I know what drives him. Dr. Guy told me as a boy he used to write the name of the killer on the inside
cover of crime novels. After med school, as a resident, he would react quickly before patients died, telling them what they
could expect to find in heaven. He joined the Fox crew immediately afterwards. He said the television profession had but one
interest for him -- the knowledge and the opportunity to write 'here's exactly what happens' on fan bulletin boards. His appetite
for spoilers eventually became overwhelming, ending in the mental torture of the five newbies in Cedar Falls. It has been six
years since he has touched, tasted or indulged his interests. He would have not let so easy an opportunity get away." 

Mark: "Someone helped him to escape." 

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

Matt: "That chance was passed up." 

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

[Long pause and silence follows until... ] 

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

[Shea Bennett calls out to Frank from behind him.] 

Shea: "Frank." 

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

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

Frank: "I'm fine." 

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

Frank: "He would be dead, Shea, with no prospect of ever spoling again." 

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

Frank: "Was it worth one more spoiler, Shea?" 

Shea: "I don't want either one of us to have to answer that question. That's why I'm here. Oh, and I also want to run a few of
my own opinions by you as well..." 

Frank: "Thank you." 

Shea: "That's not necessary. Now, about Richard Hance... was he really based on Ed Kemper and Herbert Mullin, or on
someone else?" 

[Frank looks somewhat bemused.] 

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

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

Guy: "You've got me hooked up to these plastic hands... is there total finger failure?" 

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

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

[He goes under thanks to the injection.] 

GOOD SAMARITAN MEDICAL CENTER 

ARLINGTON, VIRGINIA 

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

Frank: "Miss Guy?" 

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

Frank: "Miss Guy?" 

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

Frank: "How are you feeling?" 

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

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

Laura: "Is it true... that he escaped and ruined it all for another Millennium fan?" 

Frank: "Yes." 

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

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

Laura: "Guy wanted me to be able to use the board without typos. That's all he said, over and over. He wanted me to have the
new fingers more than I did." 

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

Shea: "Guy had a pen-friend in prison -- a woman." 

Frank: "They were tight?" 

Shea: "According to prison communications, they exchanged a few swear words on the Internet a year ago." 

Frank: "You have an address?" 

[Shea nods and they leave.] 

FREDERICKSBURG, VIRGINIA 

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

Shea: "Maria Vitale?" 

Maria: "Yes?" 

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

Maria: "Are you the Frank Black that Guy speaks about?" 

Frank: "I would assume." 

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

Maria: "I wasn't expecting visitors." 

[They follow Maria into the living room.] 

Shea: "Did we catch you working?" 

Maria: "Er, no... I don't sleep much." 

Shea: "I saw the computer on." 

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

Maria: "I was in a chat room. I... spend a lot of time there. Well, I used to." 

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

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

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

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

Maria: "Guy doesn't want to hurt anyone. Besides, I stopped reading his posts ages ago." 

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

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

Shea: "Maria, it's important that we- " 

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

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

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

Maria: "He's given the ability to type to his sister. That's an act of redemption, isn't it? An act of conscience?" 

Shea: "He used it as an opportunity to escape and now a man is in the hospital in critical condition. Not only that, but
Millennium has dropped another point in the ratings!" 

Maria: "Did Guy do it?" 

[Long pause.] 

Shea: "There might have been someone else." 

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

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

Frank: "He wants to have a... board of his own?" 

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

Maria: "E-mail." 

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

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

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

     You have mail. 

     Message 1/1 

     To:M.Vitale.4887 

     This generation is a wicked generation; 

     it seeks for a sign, 

     and yet 

     no sign shall be given to it... 

     \\ 

Shea: " `This generation is a wicked generation; it seeks for a sign, and yet no sign shall be given to it...' " 

Frank: "It's from the bible." 

Maria: "Mm-hmm." 

Shea: "Do you know what it means?" 

Frank: "Do you have a bible? And a Millennium episode guide?" 

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

Frank: "I need to use the phone." 

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

Shea: "Blood Relatives." 

Frank: "Blood Relatives, Episode seven." 

Shea: "If you count the pilot... episode seven! Your home address?" 

Frank: "No... but Guy doesn't know where I live. Clearly, he thought he did." 

Frank: (into the phone) "Art?" 

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

Art: "Frank, what's wrong?" 

Frank: "Are you all right?" 

Art: "Well, aside from the fact that you left muddy footprints all over the kitchen floor, and your bags and jacket in a pile in the
hall, then yes, we're fine." 

Frank: "Where's Jordan?" 

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

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

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

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

Art: "Yes." 

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

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

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

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

[Frank sighs heavily but doesn't respond.] 

Art: "Frank?" 

Frank: "Yes, but away from Jordan." 

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

Jordan: "Mommy, what is it?" 

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

Jordan: "From who?" 

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

[Inside is a letter, neatly typed.] 

[Art sighs.] 

Frank: "Art? What is it?" 

Art: "It says: YOU COULD ALREADY HAVE WON TEN MILLION DOLLARS!" 

Frank: "No, no. Anything else come for me?" 

Art: "Um, let me see. Yes, another yellow envelope." 

[She tears it open.] 

[Inside are several Polaroids.] 

Frank: "Art? What is it?" 

Art: "Polaroids." 

Frank: "Of what?" 

Art: "A surf type dude in beach clothes." 

[Frank hangs up the phone.] 

Frank: "Chris Carter. He's dead." 

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

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

5:16 AM 

[NEXT SCENE: The morgue. Chris Carter's body is placed on the examination 

table.] 

Pathologist: "Do you know this guy?" 

Frank: "Yes. He was a writer/producer -- a good and honest man who didn't deserve this. Maybe a kick up the behind, but not
this." 

Pathologist: (into a tape recorder) "The victim is a white male -- age: 31, weight: 155, height: 5 feet 10 inches, occupation:
writer/producer. Medical records indicate good health. Eyes are clear. No pooling of blood in the cranium. No signs of stroke
or trauma to the body. No clear cause of death in the preliminary exam. Well, apart from the knife in his back." 

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

Shea: "Cause of death?" 

[Frank shakes his head.] 

Shea: "You think it's Guy? 

Frank: "You know it is, Shea." 

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

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

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

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

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

Frank: "He's right here in front of us." 

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

Frank: (shakes his head) "I don't know. He might've. I'm not going to give it a chance. Thank God he didn't include any
unsolicited scripts." 

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

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

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

Frank: "What if he wins?" 

[Frank sighs. Shea hands him an envelope.] 

Shea: "You're too good at this. But even you could use some help..." 

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

Shea: "You picked it up right off. Took me 45 minutes. But I'm new, aren't I? And you wouldn't listen anyway. Don't know
why I bother..." 

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

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

[Frank uses a laser beam as a pointer.] 

Frank: "Three and four. This is confirmed by the victim's watch and clock -- 3:04. A time which does not correspond with the
estimated time of death." 

Heli: "Then what IS `3-04?' " 

Shea: "We think it's a basic code. Letters of the alphabet. Three equals the letter 'C', oh-four equals the letter 'D'." 

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

Frank: "He's telling us the title of the second season opener -- he's just given us the initials. They spell out the title..." 

Heli: "Shhhh!!!" 

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

Heli: "Like the Polaroids." 

Matt: "And the other reference?" 

Frank: "The killer is saying that evil begets itself. Guy told the woman he married in prison that he wanted to open his own
board." 

Mark: "They removed the wrong bodypart. I'd have have started with his arms." 

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

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

[No one responds.] 

Heli: "Hello? Hello? GEEZ!" 

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

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

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

10:00 AM 

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

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

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

Maria: "What are you searching for?" 

Frank: "Evidence." 

Maria: "Of what?" 

Frank: "Your connection to the murder of Chris Carter and the escape of Dr. Guy." 

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

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

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

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

Maria: "Has he given a description of the season opener?" 

Shea: "Yes." 

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

Maria: "Does anyone die?" 

Frank: "Why do you ask?" 

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

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

Maria: "You never asked me." 

Frank: "You worked for several years as a researcher?" 

Maria: "Was it a researcher that helped Guy escape?" 

Shea: "We think it was." 

Maria: "But you're not sure." 

Frank: "Something else about your past has come to light. You had your own bulletin board." 

Maria: "Yes, it died four years ago." 

Shea: "You were accused of crashing the server with enormous posts, listing all kinds of obscure references." 

Maria: (snaps at Shea) "I was found innocent." 

Frank: "It died of overkill -- the same thing the federal judge that tried Guy died of." 

Maria: "I thought he died of cyanide poisoning?" 

Frank: "Er, yeah. But that ruined my silky segue." 

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

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

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

Shea: "About what?" 

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

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

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

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

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

Shea: (interrupts) "Dr. Guy, your husband, was removed from post-op under very dangerous conditions. Wouldn't you like to
help us find him? It would cut down on your research." 

Maria: "Instead of suing you for entrapment and invasion of privacy? Not to mention bringing me on screen in this slinky robe?" 

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

Heli: "We thought we had some response to questions -- some facial movement. But in fact his brain activity has actually
diminished. Yeah, shocked me as well." 

Shea: "Chance of recovery? Of leaping up and spouting out if anybody dies next season?" 

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

Frank: "No." 

Heli: "Without proper medical care I think he could be dead... or near to it. You can be sure he's writing everything down he
knows on paper. Keep away from the fax machine." 

[The phone rings. The doctor answers it.] 

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

[He hands the phone to Frank.] 

Frank: "Hello?" 

Art: "Frank." 

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

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

Frank: "What's wrong?" 

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

Frank: "I called you?" 

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

Frank: "A woman?" 

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

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

Melody: "You better come see this!" 

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

[The surgeon runs to see what has happened.] 

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

Art: "Yeah, sure." 

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

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

Heli: "Dr. Guy!" (shouts) "Get me a saline IV, and something to cover my ears, stat!" 

Melody: "Right away!" 

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

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

Heli: "We're going to need a life support setup. But forget the ear plugs.." 

Frank: "What?" 

Heli: "Someone took out his tongue. Come on! 

Come on!" 

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

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

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

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

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

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

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

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

Jordan: "Mommy!" 

Art: "Jordan!" 

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

Jordan: "Mommy!" 

Art: "Jordan!" 

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

Art: "Who are you?" 

[The man doesn't respond.] 

Art: "Jordan?" 

[Art turns and runs back down the stairs.] 

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

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

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

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

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

Heli: (looking up to Frank and Shea) "... Because right now it's the only tongue he's got." 

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

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

Frank: "Without anesthetic?" 

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

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

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

Shea: "A doctor?" 

Heli: "Well, a second-year med student could do it. In fact, you could probably get the information on the Internet these days...
if you'll excuse the joke." 

Frank: "A researcher?" 

Heli: "If she spent any time around Yahoo!, yeah. It's someone who knows their way around a search engine, I can tell you
that." 

Frank: "What do you mean?" 

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

[He reaches into his pocket for something.] 

Heli: "A. Vista. `Alta Vista' is search engine that I believe you've used to solve many cases in the past." 

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

     03-10-52 45M MED 

     A. VISTA 

     DR. HELI 

     206 555 1130 39871 

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

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

Operator: "Telegrid long distance operator." 

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

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

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

Operator: "Telegrid long distance operator." 

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

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

Art: "Jordan?" 

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

[She runs through the hallway... ] 

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

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

[She turns and screams as she runs into Lt. Rogue.] 

Rogue: "Art, it's okay." 

Art: "Jordan... " 

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

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

Frank: "Yeah." 

Rogue: "They're safe, Frank." 

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

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

Jordan: "Mommy!" 

Art: "Jordan! Are you okay?" 

Giebelhouse: "She's just scared is all. I was eating a chilli dog when she came out of the house -- poor kid saw it dribbling
down my chin." 

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

Rogue: "No, they're here with us. Everything seems okay. Well, compared to what you're used to Frank, everything seems
okay." 

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

Frank: "What did she say, Bob?" 

Rogue: "Uh, looks like somebody turned the power off to your house, Frank. The rest of the neighborhood seems okay. A few
dead bodies in the street, but..." 

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

Rogue: "That's a negative, Frank. Giebelhouse is with Art and Jordan. I'm going to have a look around." 

Frank: "Rogue... " 

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

[He disconnects his cell phone.] 

[At the hospital... ] 

Frank: "He hung up." 

Shea: "What's happening there?" 

Frank: "Someone's in my house." 

[At Frank's house... ] 

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

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

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

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

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

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

Rogue: "Er... I can see you're busy right now. I'll come back a little later. No really, I insist..." 

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

Art: "Here you go, sweetie." 

[Giebelhouse calls dispatch from the car radio.] 

Giebelhouse: "This is Detective Giebelhouse requesting backup at 1910 Ezekiel. Yes, I am serious! I know we don't normally
bother but this could be important." 

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

Giebelhouse: "It's a break-in, possibly burglary. Also, I had to throw half my lunch away." 

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

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

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

Dispatcher: "Ten-four. Any units in the vicinity of one-nine-one-zero Ezekiel -- backup officers on the scene... can someone
stop at Zeke's Diner on the way?" 

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

Giebelhouse: "Hey, Rogue! You got any candy bars?" 

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

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

Giebelhouse: "Rogue?" 

[Outside, a patrol car has pulled up.] 

Jordan: "What's happening, Mommy?" 

Art: "Shhh. It's an important scene." 

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

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

[He turns the knob and... ] 

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

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

Frank: "Hello." 

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

Frank: "Who is this?" 

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

Frank: "Who's on the line? I've told you before -- I'm not interested in home security. Actually, wait... I am." 

[Back at the Black house... ] 

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

{Frank: "Rogue?"} 

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

Giebelhouse: "Who's this? Frank?" 

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

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

Giebelhouse: "I don't know." 

Frank: "Where's Rogue?" 

Giebelhouse: "Didn't he call you? Say... do you have any food in your office?" 

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

Giebelhouse: "Oh, my God." 

Frank: "Giebelhouse." 

Giebelhouse: "Oh, my God." 

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

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

Giebelhouse: "Rogue? Oh, my God. That's MY tie you're wearing!!! Sheesh." 

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

Giebelhouse: "Holy mother of God. A fifty-two dollar tie down the toilet. That's the last time YOU borrow anything, mister!
Er... actually, I guess it is." 

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

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

8:12 AM 

[Outside, the Seattle Public Safety Building.] 

[Inside, the detectives' squad room.] 

[Giebelhouse walks up to Rogue's office. He pauses at the glass door with: `Lt. Rogue, Homicide' painted on it before opening
and 

entering the room. Art is sitting on the couch inside. Jordan is asleep with her head on her mother's lap.] 

Giebelhouse: "You got a call coming through." 

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

Art: "Thank you." 

[He nods and leaves the office.] 

Art: "Frank." 

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

Frank: "How's Jordan?" 

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

Art: "HELLO? HELLO? Yeah, she's just wonderful, Frank." 

Frank: "Does she know anything?" 

Art: "No -- I told her Santa Claus came early this year, and Rogue had been REAL bad." 

Frank: "I'm coming home." 

Art: "I'm going to need some time, Frank. I can't go back to the house just yet. Why, you're going to need to repaint your
basement office... and the smell! Peow! It's like somebody died in there. Oh..." 

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

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

[He hangs up the phone.] 

Shea: "I got you a flight." 

Frank: "Thank you." 

Shea: "Wait! It's to Chicago. Sorry -- kind of late in the day." 

[Frank sighs.] 

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

[Frank stares up at Shea.] 

[NEXT SCENE: Guy's hospital room. Frank and Shea enter the room, led by the armed federal marshal guarding the door. He
exits and returns to his post. Guy is hooked up to a life support machine and has several tubes and IVs running into him. He
looks very weak. His hands are cuffed to the guard rails of his bed. His only method of communication is to type his responses
into a computer... which is not connected to the internet.] 

Guy: [typing] "Hello, Frank. You're mad at me. I understand." 

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

Frank: "What do you understand?" 

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

Frank: "You're dying now." 

Guy: "Yes. Well, no actually. I'm just very, very sore." 

[Frank nods.] 

Guy: "But my spoiling days are numbered." 

Frank: "Who is she?" 

Guy: "She?" 

Frank: "Maria Vitale." 

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

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

Guy: "You think I'm evil, Frank? You don't know what that is. It's greater than we are -- you and me. Evil is a fifty-thousand
word follow-up despite the first two being 'I agree'." 

Frank: "Who did this to you?" 

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

Frank: "Chris Carter is dead!" 

Guy: "Noooo!" 

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

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

Frank: (shouts) "Who killed my friend?! Who will re-do my office decor? Who's gonna explain it all to my wife?" 

Shea: "Let's go, Frank. I think I hear a modem somewhere." 

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

Guy: "Everything you hold sacred... " 

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

Guy: "Frank." 

[Frank and Shea leave the room.] 

Guy: "Run." (more weakly) "Run. I'm typing in my password..." 

SEATTLE PUBLIC SAFETY BUILDING 

4:00 PM 

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

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

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

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

Frank: "Where did you find these?" 

Giebelhouse: "Oh, I don't know. Somewhere downtown. Anyway, we also have two prints we can't identify from your place." 

Frank: "What about the murder weapon?" 

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

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

Giebelhouse: "From the wounds, we believe it was either a hunting-style knife... or a particularly sharp comb." 

Frank: "Metal comb?" 

Giebelhouse: "Yeah... those things are nasty. Have you seen the flick-combs? Ooooh..." 

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

Giebelhouse: "I got to get out of here for a minute. My stomach is rumbling like crazy." 

[... leaves the room.] 

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

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

[Giebelhouse returns to the room.] 

Giebelhouse: "Frank. Maria Vitale, that the name?" 

Frank: "Yeah, why?" 

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

Frank: "Where? Here? In Seattle?" 

Giebelhouse: "Yeah." 

[They both leave to go see Maria.] 

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

Maria: (without turning) "Hi." 

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

Frank: "You were in my house!" 

[She finally turns and faces Frank.] 

Maria: "When was that?" 

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

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

Frank: "We have your fingerprints. And we found a nineteen hundred word essay on the Millennium title sequence." 

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

[She leans across the table.] 

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

Frank: "Who are you?" 

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

Maria: "I'm the widow of Dr. Guy." 

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

Giebelhouse: (whispers) "Frank." 

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

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

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

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

Frank: "There's nothing she doesn't already know. Hmm... except maybe whether I'll get together with a sexy vet sometime
next season." 

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

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

Art: "What do we do, Frank?" 

Frank: "You're angry with me." 

Art: "It's not anger. I don't know what it is. It certainly isn't surprise." 

Frank: "It's who I am." 

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

Frank: "It's not true." 

Art: "It is, Frank. Even your license plate reads I-DO-GOOD! You can't talk it away. You can't ask me to pretend or make
believe. You can't make what happened in this house just go away." 

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

Art: "I love you too. But it's not about that. It's about things that happen to us that don't happen to other people. Like blood
stains... on the ceiling." 

Frank: "I know." 

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

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

Jordan: "Daddy?" 

Frank: (out of breath) "Yeah?" 

Jordan: "Are you tired?" 

Frank: "Yeah. All these blasted bags. And did you have to carry Ben on your shoulders as well?" 

Jordan: "Do you need to rest?" 

Frank: "Yeah." 

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

Jordan: "How come we came so far?" 

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

Frank: "Er... I think I got lost. No, wait -- here." 

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

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

[She looks around and turns to her father.] 

Jordan: "I like it." 

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

[Camera leaves Frank and Jordan and pans around to what they are staring at. In big letters, we see the word...] 

H O L L Y W O O D 

[The credit fades in from black... ] 

Executive Producer: Chris Carter 

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

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

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

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

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

Man: "Join me." 

Voice Over: "An all-new Millennium." 

Man: "I can wait, Frank. Your situation may not allow you that luxury... ratings will fall if people know what's going to happen.
Ha ha ha!" 

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

Parental discretion advised. Unless you already know what's happening next season." 

[End titles roll] 

Ten Thirteen Productions in association with 20th Century Fox Television (r) 

A News Corporation Company 

Copyright (c) 1997 

Twentieth Century Fox Film Corporation 

All Rights Reserved #4C17 

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

The characters and names depicted in this photoplay are fictitious. Any similarity to actual persons, living or dead, is purely
coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any unauthorized
duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability. 

Millennium 

Copyright and TM, 1997 -- FOX Broadcasting Company 

Reproduced with use of the the excellent transcript of " Lamentation " compiled by Maria Vitale -- E-mail: nightowl@nyct.net