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Transcript of Millennium episode "Kingdom Come"

Presented below is an episode transcript of Kingdom Come from Chris Carter's Millennium TV series. These transcripts have been provided thanks to the dedication and time consuming hard work of Millennium fans Libby and Maria Vitale. Millennium - This is who we are is extremely greatful to Libby who has painstakingly checked, updated and edited each one for accuracy to make sure that they are as true to the actual episodes as possible.

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Kingdom Come - Transcript



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Kingdom Come

[MLM-103 (4C03)]


Written by Jorge Zamacona
Directed by Winrich Kolbe
U.S. Air Date: November 29, 1996

[Transcribed by Maria Vitale
Edited by Libby]



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

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

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

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

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

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

CALLOWAY:  (quietly) They live their lies so willingly, don't they, father?
BROWN:  Sorry, I didn't hear.

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

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

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

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

BROWN:  Excuse me?
CALLOWAY:  No, I won't. Tell me your sins. Tell me what a liar you are.

{Choir:  Virgo prius ac posterius... }

BROWN:  What's your name, son?
CALLOWAY:  (whispers) Bless you father, for you have sinned.

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

{Choir:  ...Gabrieles ab ore... }

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

BROWN:  Son, wait a minute.

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

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

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

BROWN:  Son?

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

CALLOWAY:  Inquisitor deum, father.

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

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

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

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

CALLOWAY:  Est in nomine dei, padre.

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

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

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

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

SCHULTZ:  Wait. Wait. Wait.

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

[fade to black]

[main titles]

"And there will be such intense darkness
That one can feel it."
Exodus 10:21

[polaroid fade up]


[Morning, sunny. The Black residence.]

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

CATHERINE:  Something smells wonderful. What is it?
FRANK:  Scrapple.
JORDAN:  What's scrapple?
FRANK:  It's a mystery.
CATHERINE:  It's leftovers.

[Jordan looks at her mother.]

CATHERINE:  (to Jordan) What do you want to do today?
JORDAN:  Aren't you going to work today?
CATHERINE:  Today's Sunday - day of rest, and fun.

[A noise is heard.]

JORDAN:  What's that, Daddy?
FRANK:  It's okay, Jordan.

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

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

JORDAN:  It's a bird!
CATHERINE:  Don't touch it, sweetie.
FRANK:  It flew into the window.
FRANK:  It saw its reflection and got confused.
JORDAN:  What the matter with it?
CATHERINE:  It's just hurt.

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

JORDAN:  Is it going to get better, Mommy?
CATHERINE:  We hope so, sweetie.

[The phone rings. Frank answers it.]

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

[He gestures to Catherine for a pen.]

CATHERINE:  Who is it?
FRANK:  Work.

[She hands him one.]

JORDAN:  It's not moving, Mommy.
CATHERINE:  It's just resting, Jordan.
FRANK:  (to the phone) Where in Tacoma?
JORDAN:  It's not breathing.
FRANK:  Okay.

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

JORDAN:  Is it going to die, Mommy?

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


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

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

FRANK:  Ardis.
ARDIS:  Hi, Frank.

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

FRANK:  Where are we?
ARDIS:  Closing ceremonies. The body's already been removed. I thought you might want to see the crime scene.
FRANK:  Yeah.
ARDIS:  Tacoma P.D.'s a little overwhelmed right now, but they're welcoming our help. Detective Kerney, this is Frank Black.
KERNEY:  It's my understanding you have some insight into this.
FRANK:  There was a series of homicides in 1992 involving men of the cloth. Ms. Cohen and I were part of the F.B.I. investigative team.
KERNEY:  Did you catch the guy?

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

ARDIS:  The victim's name was Silas Brown. Georgetown University and a former professor at the International Institute of Catechetical and Pastoral Studies in Brussels.
KERNEY:  (surprised) A Jesuit?

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

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

KERNEY:  Is that relevant?
FRANK:  I don't know.

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

KERNEY:  I went to a Jesuit high school. Father Dodson left a permanent impression on me - if you know what I mean.
FRANK:  You see this, Ardis? He was wearing a sanbenito.

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

KERNEY:  What's that?
ARDIS:  It's a cloak. During the Middle Ages, heretics were forced to wear it before they were burned at the stake.
FRANK:  Did you see the forensics report?
ARDIS:  Same materials.
FRANK:  It was only a matter of time.
KERNEY:  Hold on, what do you mean, the Middle Ages? What's that about?
ARDIS:  The killer was very precise. The process is important to him. He treats the scene like a ceremony.
KERNEY:  What kind of ceremony?
FRANK:  Medieval. Freshly-hewn stake. Probably cut locally. Peat and wood for fuel.
KERNEY:  And your group thinks this is the same guy?
ARDIS:  Very possibly.
FRANK:  Four years ago, three men were murdered in a similar fashion. Then it stopped, until last night.


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

ARDIS:  Victim is caucasian, male, 61 years old. There is evidence of blunt trauma to the occipital protrusion on the cranium. Sooty residue in the air passages, indicates the victim was most certainly alive when he was fastened to the stake.
FRANK:  He asphyxiated.
ARDIS:  Carbon monoxide robbed his lungs of oxygen. When the threshold drops below 21 percent, thankfully, you pass out.

[Frank puts on his eyeglasses.]

FRANK:  I know we both hoped we wouldn't be here again.
ARDIS:  But here we are.

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

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

FRANK:  Look at this, Ardis.
ARDIS:  What?

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

FRANK:  You see? The tongue. There's something burned into it.
ARDIS:  There was nothing specified.
FRANK:  Fused in the char.
ARDIS:  What is it, Frank?

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

FRANK:  A coin. A Spanish peseta.
ARDIS:  New killer, Frank?
FRANK:  (sighs) A break in the pattern. A refinement in his MO. Some kind of symbolism. Possibly an escalation.
ARDIS:  Maybe we can pull a print.

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

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

FRANK:  Can I help you?
SCHULTZ:  I'm sorry, I don't know my way around here. A friend of mine died and I'm supposed to arrange to have him sent to a funeral home.
FRANK:  Father Brown?
SCHULTZ:  Yes, I'm Father Schultz.
FRANK:  You were his friend.
SCHULTZ:  (nods) He was a good man, a true believer. That's not as popular as it used to be.
FRANK:  Don't look for a reason, father.
SCHULTZ:  Are you saying there isn't one?
FRANK:  Not one that would make any sense right now. The man who did this - who we believe did this - he does it without conscience. Is that evil?
SCHULTZ:  There's a disconnectedness out there and those desperate with that feeling expect faith to fill the void and when it doesn't they blame us.
FRANK:  I can't speak to that, father.
FRANK:  I'm afraid my own faith is lacking.
SCHULTZ:  Well, I've ministered to many who have lost their way.
FRANK:  I think my time would be better spent trying to catch the man who killed your friend.

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



[Outside, sunny, the Black residence.]

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

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

[Turns the page.]

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

[Turns the page.]

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

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

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


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

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

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

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

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

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

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

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

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

CATHERINE:  Coming up?
FRANK:  Yeah, right up.

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

CATHERINE:  Jordan had kind of a bad day today, Frank. She was really upset about the bird.
FRANK:  What did she say?
CATHERINE:  She asked me if dogs die, horses, cars, trees. Us.
FRANK:  What did you tell her?
CATHERINE:  I mustered all my clinical powers, and lied.

[They both laugh.]

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

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

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

[Frank walks over and stands near her.]

CATHERINE:  I saw it on the news. It's frightening, you know? (sighs) Churches, clergy - symbols of what is supposed to be safe haven, coming under attack. Why do they do it, Frank?
FRANK:  That's what we're trying to find out.
CATHERINE:  When you get a chance, talk to Jordan, okay?
FRANK:  Be right up.

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

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

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

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

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

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

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

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



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

[Crane sighs.]

GOLFING MAN:  Ooh. Take a mulligan.
CRANE:  (sighs) Naw. I'll just be chasing two balls in the rough. You go on ahead.
GOLFING MAN:  See you tomorrow, same time?
CRANE:  Yeah, see you tomorrow.

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

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

CALLOWAY:  This yours, reverend? Titan III?
CRANE:  Yes, it is.
CALLOWAY:  Tough lie.
CRANE:  Yes, uh, are you playing this hole?
CALLOWAY:  I was considering it.

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

CRANE:  Playing with one club?
CALLOWAY:  One's all it takes, reverend.

[Crane moves a bit closer to Calloway.]

CRANE:  Do I know you?
CALLOWAY:  I kept my vows. I loved, honored, and obeyed.
CRANE:  I'm sorry, I don't remember.
CALLOWAY:  Well. (chuckles) It's just a job.
CRANE:  I've been retired for four years now.
CALLOWAY (with sarcasm):  Retired from the Lord. I hear you.

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

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

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

CALLOWAY:  (again, with sarcasm) Yep, that hurts.

[fade to black]

[polaroid fade up]

[Outside, night, the Black residence.]

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

FRANK:  (laughs) You were trying to trick me, weren't you?
JORDAN:  Yeah.
FRANK:  You little rascal, you!

[He sits on the bed beside his daughter.]

FRANK:  Mommy said you had some questions for me.
JORDAN:  The bird died.

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

FRANK:  Yes?

[Her voice breaks as she speaks.]

JORDAN:  What happens to it?
FRANK:  Lots of different ideas. No one knows exactly. Some people think the soul goes to another house.
JORDAN:  Another yellow house?
FRANK:  Yeah, kind of.

[Catherine stands by the open door, listening.]

JORDAN:  Does God live there?
FRANK:  Lots of people think he does.
JORDAN:  Do you?
FRANK:  I think that if He does, He'd say to you: 'It's way past your bedtime.'

[Jordan chuckles.]

FRANK:  I think He would say: 'You're a little rascal.'

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

FRANK:  Say good night to Mommy.
JORDAN:  Good night, Mommy.
CATHERINE:  Good night, sweetie.
JORDAN:  Good night, Daddy.
FRANK:  Good night, baby.

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


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

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

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


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

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

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

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

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

MAN:  This is Casey.
FRANK:  Hi, this is Frank Black. Uh, can I speak to Ardis?


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

ARDIS:  His name was Marcus Crane. He was a retired Presbyterian minister. If this is the same killer, this is the first time he's targeted a Protestant.
FRANK:  What was the cause of death?
ARDIS:  Again, blunt trauma to the head to incapacitate the victim. The instrument was wedge-shaped, probably a golf club, but he died of drowning.

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

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

[He turns suddenly and faces Ardis.]

FRANK:  The torture of heretics.
ARDIS:  Golf or drowning?

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

FRANK:  The staging is just another method of determining the piety of the accused heretic.
ARDIS:  A one-man inquisition.
FRANK:  He planned this very carefully - took time to watch the victim, to plan the ceremony. Sermo generalis.
ARDIS:  If that's what he's doing, Frank, what is he trying to tell us?
FRANK:  His choice to alter his methods is semiotic. The coin in the mouth. The elaboration of details. They're not meant as a message. They're for his own satisfaction.
ARDIS:  His lack of denominational concerns would indicate that he's becoming more random.
FRANK:  Not more random, more precise. My guess is he knew these men, that he was once a member of their church - a seminarian or an altar boy.
ARDIS:  There's something else here. Something they found on the body.
FRANK:  What?
ARDIS:  A man's wedding band in the victim's stomach.
FRANK:  Were there initials? A date?
ARDIS:  No, nothing.
FRANK:  Hmm.

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

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

FRANK:  The victim gagged. The choke reflex made it difficult to swallow.
ARDIS:  So you think something else might have been put in the mouth?
FRANK:  Something that wasn't ingested. Something that was overlooked.


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

ARDIS:  Nothing here but drinking and driving. We've pretty much gone through it, Frank.
FRANK:  When they pulled the body out of the lake, which bank did they remove it from?
ARDIS:  I believe the other side.

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

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

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

FRANK:  Ardis.
ARDIS:  Yeah, what is it?
FRANK:  A woman's engagement ring soldered to a wedding band.

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

ARDIS:  It's engraved. 'J.M.M.' The killer's initials?
FRANK:  If we're lucky.


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

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


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

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

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

FRANK:  The ring is made of rose gold in Italy, sometime in the '40s. The number indicates the gold content to be 18 carats.
ARDIS:  An American service man bought a ring for his sweetheart during the war? Or maybe it's a family heirloom?
FRANK:  Maybe both.
ARDIS:  Even if he were drafted at 18, that would make him about 70 years old now.
FRANK:  The killer's a younger man.

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

OFFICER:  Just came in over the wire.

[He places it before Ardis, then leaves.]

ARDIS:  A John Matewon, convicted felon, 35 years old, arrived in Cheyenne yesterday on a charter from Tacoma. He used a credit card to check into a Motel 8 on Route 60 at 8pm.
FRANK:  John Matewon? 'J.M.'?
ARDIS:  No middle initial.
FRANK:  You take two out of three?


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

OFFICER #1:  Go! Go! Go! Go! Go! Go! Check the bathroom!

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

OFFICER #2:  We got him.

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


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

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

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

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

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

CROWLY:  What is going on here?

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

[fade to black]

[polaroid fade up]

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


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

ARDIS:  Frank, this is Detective Romero, Rockford P.D., forensics.
FRANK:  Hi. What else did you find?

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

ROMERO:  The kitchen sink. We've got bloody prints off the cabinets. What makes you think this is your guy?
FRANK:  You found a Spanish coin. The man we've been looking for, has left them behind before.

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

ARDIS:  If it is him, he's getting sloppy. This isn't like him.
FRANK:  Maybe he was surprised. Is there any description of the assailant?

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

ARDIS:  The church secretary, Beatrice Crowly, could only give us a narrative - that a man attacked her, hit her across the face, then fled.
FRANK:  Where is she now?
ROMERO:  Froedert Hospital. She's going to be fine.
FRANK:  Was anything missing from the office?

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

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

[Someone calls out to Romero from another room.]

MAN:  Ronnie, come here.
ROMERO:  Excuse me.

[Romero leaves the room.]

ARDIS:  We've got a big change in M.O. here, Frank. The detail of the coin, aside. What was he looking for here?
FRANK:  Information. Something important enough to travel a great distance to find.

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

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

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

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

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

FRANK:  I know what he's doing.
ARDIS:  The killer?
FRANK:  Yes. He's not killing men. He's killing faith.
ARDIS:  Why?
FRANK:  I don't know but he was here looking for a name and address.
ARDIS:  Choosing his next victim.
FRANK:  He didn't come this far by accident. He knows who his victims are.


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

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

MANAGER:  I, uh, don't mean to bother you, Mr., uh, Calloway, but I need the holder of the card to sign.
CALLOWAY:  She's dead.
MANAGER:  (chuckles) Pardon me?
CALLOWAY:  The holder of the card, my wife, she's dead. Is that a problem?
MANAGER:  No, no, no problem. I-I'm sorry to hear that.
MANAGER:  It's just that the, uh, credit card company won't authorize the charges.

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

CALLOWAY:  Cash still good here?
MANAGER:  (chuckles) Wouldn't turn it down.

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

CALLOWAY:  You wouldn't happen to know a man in town named Jack Harned, would you?
MANAGER:  Reverend Harned? Sure.
CALLOWAY:  Seems he doesn't live at his old address.
MANAGER:  He, uh, moved into his dad's house a couple of years back, after the old man passed away.
CALLOWAY:  Maybe I could get that address from you. I'd like to make his reacquaintance.

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


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

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

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

ARDIS:  The ellipticals were erased or mutilated.

[He has a brief vision.]

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

ARDIS:  We put them up on the N.C.I.C. to look for a match.
FRANK:  What if they were burned, in a fire?
ARDIS:  Why a fire?
FRANK:  (sighs) Maybe the killer experienced an emotionally catastrophic event, a loss, something that consumed his faith, but didn't kill it.
ARDIS:  And now what? He's going to finish the job?
FRANK:  Describe the killer. Define his victims.
ARDIS:  But how's he choosing them, Frank? What's the victimology?
FRANK:  His victims have been of religious significance in his life, but what?

[The door open and Romero enters the room.]

ROMERO:  I've got Beatrice Crowly on the phone. She was able to go through the files. Says there are ones definitely missing.
FRANK:  Which ones?
ROMERO:  Christening records - a whole year's worth.

[Frank and Ardis look at one another.]


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

CALLOWAY:  Mrs. Harned?
CALLOWAY:  Hi. I'm an old friend of your husband's - a very old friend. Is, um, he home, by any chance?
MRS. HARNED:  Oh, he's just inside. We're in a bit of a panic.

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

MRS. HARNED:  Jack's officiated hundreds of christenings, but this is the first time he's doing it for a family member - our little Emma.
CALLOWAY:  Your granddaughter.
MRS. HARNED:  Yes. The light of our lives.

[Not finding what she's looking for in her husband's coat, she picks up her purse and searches through that.]

MRS. HARNED:  You have children?
CALLOWAY:  No. No, I don't.
MRS. HARNED:  Well, Jack's so excited he didn't even remember to pick up his vestments from the cleaners. Why don't you come right in? I got to run out. Be right back.

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


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

CROWLY:  I just don't understand it. I could have given him the information he needed.
FRANK:  Mrs. Crowly, do you have any idea why he took those files?
CROWLY:  No, they're just records. There isn't much information on them.
FRANK:  Do the files contain the names of the men and women who did the christenings?

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

CROWLY:  There was Reverend Lorans - sweet man. He died last year.
FRANK:  What was the name of the other man?


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

CALLOWAY:  Reverend Harned?
CALLOWAY:  I was just talking to your wife. You must be mighty excited.
HARNED:  Who are you?
CALLOWAY:  My name is Galen Calloway. You don't recollect my face?

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

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

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

HARNED:  You hear me?

[The phone rings.]

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

[Harned picks up the phone.]

HARNED:  Hello?

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

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

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

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

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

FRANK:  Hello, sir?
CALLOWAY:  ...that way the wound cauterized. No blood, no mess.

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

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

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

FRANK:  Reverend Harned, don't let anyone in.
HARNED:  I already have.


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

ROMERO:  Reverend Harned?

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


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

ARDIS:  (sighs) We missed him by minutes, Frank. The son of a bitch.
FRANK:  Yeah.
ARDIS:  In all these years, we work at a distance, with a remove. It helps us to objectify, so why is this one different to me?
FRANK:  The coldness, the calculation, the victims - merciless acts against the merciful.
ARDIS:  I haven't been to church since I was eight. I've always been happily cynical. So why I am taking this so personally?

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

FRANK:  I feel it myself.
ARDIS:  Have you and your wife raised Jordan in any particular faith, Frank?
FRANK:  No. Catherine and I haven't even dealt with it yet.
ARDIS:  I know. My husband and I make it up as we go along.
FRANK:  Maybe faith is like the picture album left in the closet. We don't go back and visit it every day. We need to know it's there, need to know it's safe so we can pass it along when the time is right.

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

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

FRANK:  Ardis. The killer, we haven't found him yet, because he isn't on the move. He's still here.
ARDIS:  What makes you say that?
FRANK:  He was at the house when we called. He knew we were on our way. He didn't hurry. He didn't compromise the ritual. He was resigned, committed. He's become comfortable. You get the luxury of calmness in a murder when you know your surroundings.
ARDIS:  You think he's come home?
FRANK:  I think that this is where the tragedy of his life occurred.


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

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

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

DOC 2872923874239 DATE February 14th, 1989
NAME Calloway, Galen
ADDRESS 1012 Meadow Park Lane
ID# 101272472376
INCIDENT LOCATION: 1012 Meadow Park Lane
OWNER Calloway Galen
DOCIT # 426D7894
NARRATION Arrived at scene 22:15. Rockford FD on scene. Residence fully involved. ME arrived at 01:45. ME reports two deaths, Joan Calloway (35) and Sara Calloway (6). See attached ME reports. Galen Calloway survived with third degree burns to arms and hands.

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

ARDIS:  Teacher of religious studies at Edgewood Catholic High School.

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

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

ROMERO:  (interrupts) Jeez! My kids go there!
ARDIS:  Mother's maiden name: Mosier, Janice Marie. It was his mother's ring, Frank.

[Frank takes a turn reading aloud.]

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

[Another close up of the screen shows:]

EMPLOYER or LAST KNOWN Edgewood Catholic High School
VIOLATION Felony, Driving under the influence
LOCATION 15th and Maple Ave.
September 29, 1992 - Convicted of offense and sentenced to five years in a state facility.
September 2, 1995 - Passed parole hearing and was released without delay.

ARDIS:  He didn't stop killing four years ago - he was just interrupted.
FRANK:  I need two things, detective.

[Romero writes down what Frank requests.]

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


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

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

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

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

REVEREND: shield, the horn of my salvation, my strong horn...

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

[Everyone screams and ducks down among the pews.]

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

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

CALLOWAY:  I am the lamb.

[fade to black]

[polaroid fade up]

6:02 P.M.

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

CALLOWAY:  'The mercy of the lord is from everlasting to everlasting,' he said.

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

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

[Inside, Calloway continues preaching to the congregation.]

CALLOWAY:  Confess your faith unto him who said, 'all souls are mine.'

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

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

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

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

[Some of the parishioners can be seen crying.]

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

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

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

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

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

CALLOWAY:  I hear a phone. Where's the phone?

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

REVEREND:  It's right over...

[But Calloway shoots the man in his left leg for his trouble. The others scream.]

CALLOWAY:  (shouts) Where's the damn phone?

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

ROMERO:  Is he shooting hostages? We got to go in.
FRANK:  Let's not make this any worse.

[He covers the phone's mouthpiece.]

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

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

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

FRANK:  Mr. Calloway, this is Frank Black.
CALLOWAY:  Are you a police officer?

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

FRANK:  No, I am not! What's this shooting about? Is anybody hurt?
CALLOWAY:  He'll live...

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

CALLOWAY:  ...for a while.
FRANK:  I want you to calm down. There's no need to shoot anybody.
CALLOWAY:  Really? Why is that?
FRANK:  I know why you're here.
CALLOWAY:  You know why I'm here? You think you know why I'm here.
FRANK:  You're here because of Joanie and Sara.

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

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

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

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

ARDIS:  Frank, no. You know as well as I do, there's no hostage-for-hostage scenario that's ever worked.
FRANK:  The hostages are incidental.

[Frank takes off his jacket.]

ARDIS:  Not if he's shooting them.

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

FRANK:  He's on a suicide march.
ROMERO:  So, you're going to walk in there and becoming another unintended casualty?
FRANK:  I think I can reach him.
ARDIS:  What makes you say that?
FRANK:  I know what he wants.

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

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

FRANK:  I'm not armed, Galen. I just want to talk to you.
CALLOWAY:  Then talk. Move.

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

FRANK:  Let these people go.
CALLOWAY:  They're here and they have to be sacrificed.
FRANK:  Just like Joanie and Sara were sacrificed. I hear you, Galen, and I know what you're doing.
CALLOWAY:  You lie. Just like the priests and the holy men. Get down on the floor. (shouts) Now! Get down on your knees!

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

CALLOWAY:  The first lie that passes your lips, I blow your head off.
FRANK:  What do you want to know?
CALLOWAY:  Are you afraid to die, Frank?
FRANK:  Yes.
CALLOWAY:  Then you don't believe in God.
FRANK:  I haven't thought about it in a very long time.
FRANK:  Because I've seen the innocent die. I've seen children murdered in their beds. The weak and helpless slaughtered, without purpose, without sense.
CALLOWAY:  Then you know the truth. You know that God has abandoned us. That's why you're afraid to die. Just like I am.
CALLOWAY:  You're lying.
FRANK:  I'm afraid, Galen, but not like you. You're afraid to die, because you fear God's judgment.
CALLOWAY:  I've lost my faith.
FRANK:  No, you've tried to kill it, but you can't. I've seen your ritual. You try to kill your faith with the tools of your own belief because of your pain, because you think God's forsaken you. You think that you can get rid of your pain by slaughtering the faith that's inside you.

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

CALLOWAY:  It is inside of me, isn't it. (cries) It just won't die.
FRANK:  I want to help you, Galen.

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

CALLOWAY:  I've, I've felt His presence all along. Oh. (sobs) Him watching me. Oh, Oh, Joanie and Sara watching me.
FRANK:  (whispers) But God doesn't want you to kill yourself or anyone else.

[Calloway struggles to bring his emotions in check.]

CALLOWAY:  No. (pause) No, but I have to.

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

CALLOWAY:  Because - I can't - kill - Him.

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

[A shot is fired. Frank falls forward.]

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

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

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

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

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


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

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

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

CATHERINE:  Hi. (sighs) I tried to wait up.
FRANK:  It's all right, it's late.

[Catherine leans forward.]

CATHERINE:  Are you okay?
FRANK:  Yeah. I was just thinking on the plane about this man Calloway. I felt how human he was - so inundated by pain, fragmented by grief. It led him to surrender his humanity.
CATHERINE:  I know, Frank. It scares me.
FRANK:  We can't stop evil but we can't lose our faith either.
CATHERINE:  Are you thinking that's what we need to teach Jordan?
FRANK:  I'm going to tell Jordan that bad things happen. And even though the bird died and it upset her, we have to balance sadness with a sense of hope and faith.
CATHERINE:  I still have faith, Frank - even in a world where men like that exist.

[Frank takes her hand in his.]

FRANK:  So do I.

[fade to black]

[end titles]


Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)

Guest Starring

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


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


Alan Lehros (John Matewon)


Story Editor: Charles Holland
Music by Mark Snow
Editor: George R. Potter
Production Designer: Sheila Haley
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Ted Mann
Consulting Producers: James Wong & Glen Morgan
Co-Producer: Ken Dennis
Co-Producer: Chip Johannessen
Co-Producer: Frank Spotnitz
Co-Executive Producer: Jorge Zamacona
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Jorge Zamacona
Directed by Winrich Kolbe

Executive Producer: Chris Carter

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