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Transcript of Millennium episode "The Wild and the Innocent"

Presented below is an episode transcript of The Wild and the Innocent 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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The Wild and the Innocent - Transcript


Season:

1

MLM Code:

#MLM-110

Production Code:

4C10

Original Airdate:

1997-01-10



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Episode Profile | Synopsis | Credit List | Original Fox Photos | Episode Images

The Wild and The Innocent

[MLM-110 (4C10)]

 

Written by Jorge Zamacona
Directed by Thomas J. Wright
U.S. Air Date: January 10, 1997

[Transcribed by Maria Vitale
Edited by Libby]

 

[Day, thunderstorm, a procession of cars drives along an open stretch of road leading to a cemetery. It is led by a hearse. Maddie Haskel narrates throughout the episode.]

MADDIE:  (VO) Sometimes I feel time slip like a heart beat, dear Angel. I wonder if you feel it too across the distance. To have known you for so brief a time. To live with the possibility that we shall never meet again.
JOPLIN, MISSOURI

[Having reached their destination, the occupants of the cars are gathered around a coffin for the burial as the preacher says the eulogy.]

PREACHER:  Killean Marie Haskel's passing is a lesson to us all. She was a selfless friend, a loving mother. Her life was hard, but it was her own. She did not surrender to sadness or hardship. She surrendered to the fatigue that comes with being a good person.

[Maddie can be seen at the ceremony, crying. In her hands are some flowers.]

PREACHER:  Killean found no peace in this world. We pray the Lord helps her find some in His.

[She looks across at a man, Jim Gilroy. She glares at him and he just stares back at her. She then places the flowers on top of her mother's coffin.]

PREACHER:  Ashes to ashes, dust to dust. We commit the body of Killean Marie Haskel to the earth.

[As her mother's coffin is lowered into the grave by hand with ropes, Maddie continues to glare at Gilroy.]

[Later that night, outside, the Haskel residence.]

[Inside, Maddie is in her bedroom, brushing her hair. Gilroy opens the door to her room and enters. He grabs her by the arms and throws her on the bed.]

MADDIE:  (screams) No! Stop it!
GILROY:  Just you and me now.

[He climbs on top of her as she struggles to get free but he's much stronger than she is.]

MADDIE:  Stop it! Stop! Stop it!

[She turns her head and sees a young man enter the bedroom. He has a stick in his hand. His features cannot be seen because he is in the shadows with the dimmed light from a lamp behind him.]

MADDIE:  (crying) Please stop.

[Gilroy turns to face the young man and is struck on the head with the stick. The young man is Bobby Webber, Maddie's boyfriend.]

 

[Bobby tosses Gilroy's still unconscious body into the trunk of a car. It is wrapped in a white sheet.]

[Bobby and Maddie can later be seen driving on a road in the car. She is in tears. It is raining.]

BOBBY:  Hell, Maddie. He wasn't coming up to read you 'Winnie-the-Pooh.'
MADDIE:  But this isn't the way we talked about it. You said you were just going to make him tell us where he is.
BOBBY:  (shouts) What do you want from me?

[A police siren can be heard behind them.]

[Bobby checks his rearview mirror as Maddie cries even harder.]

MADDIE:  (to herself) Oh, God.
BOBBY:  (very softly) Just be quiet.

[He pulls their car over to the side of the road and waits. He looks over at Maddie who has stopped crying for now and is trying to regain her composure.]

[The trooper get out of his car and begins walking towards them. Bobby looks into the sideview mirror and watches the trooper as he approaches. He rolls down the window.]

BOBBY:  Evening, officer.
TROOPER:  The reason I pulled you over tonight is you have a burned-out tail light.
BOBBY:  Oh, yeah. I got a fix-it ticket for that last week. I'm just waiting on pay day to get it done.

[The trooper shines the flashlight on Maddie's face and sees the tears on her cheek. She looks up at him then turns her face away.]

TROOPER:  (to Bobby) Can I see your license, please?
BOBBY:  Oh, yeah, I have it right here.

[He reaches down behind him on the seat and picks up something - a gun. Maddie looks down and sees it just as some muffled groan and a thump can be heard from the trunk of the car - Jim Gilroy has awakened. They all turn their heads to look at the rear of the car.]

TROOPER:  What the hell was that?

[The trooper, distracted by the noise, then turns to find Bobby pointing the gun at him. Maddie opens her mouth as if to shout a warning but is unable to make a sound. Bobby fires the gun and the trooper falls to the ground.]

Maddie:  (VO) If you are indeed lost to me, it is my Lord's prayer that you are not lost to Him, dear Angel - that you walk in the light, that you forgive, and that you never have to know the truth.

[fade to black]

[main titles]

"O Lord, if there is a Lord
Save my soul, if I have a soul--"
Ernest Renan

[polaroid fade up]

[Morning, a beautiful sunny day outside the Black residence.]

[Inside, Jordan, still in her pajamas, is crawling on all fours, slowly moving towards her parents' bedroom. Toys can be seen laying on the floor. She makes her way around a corner near a radiator, moves past a chair with a teddy bear resting on it and continues to move towards the bed.]

[Frank is sitting cross-legged on the bed with a copy of the Seattle Tribune in his hands. He has it open and glances at the pages, then he peers over it, catches a glimpse of Jordan's stealthy approach and pretends not to notice.]

[She reaches Frank's side and pops up beside him.]

JORDAN:  (shouts) Roar!

[Frank laughs then picks up his daughter and holds her on his lap as she giggles.]

FRANK:  Oh, I'm being attacked by a tiger!
JORDAN:  No, I'm a lion.
FRANK:  A lion? You want to play again?
JORDAN:  Yeah, but this time I'm a bear.
FRANK:  A bear? You just better promise not to scare me, okay?

[Catherine Black enters the room carrying two mugs.]

CATHERINE:  What's going on up here? The whole house is shaking.
FRANK:  (laughs) There's a wild animal in the house.

[He tickles Jordan who giggles again.]

JORDAN:  Mommy?
CATHERINE:  Yes, sweetie?
JORDAN:  Are you and Daddy going to have another baby?

[Surprised by the question, Catherine looks at Frank for help but he just raises his eyebrows and tilts his head to one side. She's on her own with this question.]

CATHERINE:  Uh, I don't know.
JORDAN:  I want a baby.

[Frank laughs again.]

CATHERINE:  You do, huh?
JORDAN:  Yeah. Families have lots of kids.

[Frank plays with Jordan's toes, picking her foot up by lifting her big toe, causing Jordan to giggling again.]

FRANK:  Some families, they have one and some families have more. They're still a family.
JORDAN:  But can I have a sister?

[She giggles once more as her parents look at one another. Then the phone rings saving them both from continuing the conversation further.]

CATHERINE:  I hope it's for me.

[She answers the phone.]

MAN:  Frank, please.

 

[Frank goes down to his basement office to continue the phone conversation. He picks up the phone there.]

FRANK:  Hi, sweetheart. You can hang up now, Jordan.
JORDAN:  Okay.
FRANK:  Thank you.

[A click can be heard.]

[Frank turns on his computer and connects with the Millennium Group. The screen reads: 'Welcome Frank Black. Starting up... ' ]

WATTS:  Frank, it's Peter Watts.

[Watts' voice is heard but he is never seen on screen. Perspective remains with Frank throughout the conversation.]

FRANK:  Hi, Peter.
WATTS:  Frank, I just sent you something - something you should see. Are you online?
FRANK:  Yeah.
WATTS:  Familiar face?

[The screen displays three items: a photo of Jim Gilroy; some information about him including his real name, Jake Waterston; and an NCIC report which details his arrest for multiple murders back in 1992. The screen reads as follows:]

IMAGE TRANSFER SUBJECT INFORMATION
Name: Jake Waterston { Photo } - Alias: - Sex: Male - DOB: March 21st 1966 - POB: Fulton, Missouri - Height: 6'2" - Weight: 175 - Eyes: Hazel - Hair: Brown - Skin Tone: Medium - Scars/Tattoos: SCR Arm SCL Arm - SSN#: 437 -32-5034 - NCIC#: W47223-4538 - NCIC FPC: 10 TT 38P0 1323 - NCIC REPORT Arrested for: Kidnap and rape charges - Warrant Issued At: Newport News, Virginia - Date of Warrant: December 22, 1992 - Warrant Number: 3825-1105-3004-F
CONSIDERED ARMED AND DANGEROUS
Jake Waterston kidnapped, raped and murdered three nurses in Newport News, Virginia in 1992. Strangled them with ten-pound test line and left the bodies in the James River.

[Frank reads aloud part of the NCIC report.]

FRANK:  'Jake Waterston. Kidnapped, raped, and murdered three nurses. Newport News, 1992. Strangled them with ten-pound test line. Threw them into the James River.'
WATTS:  He's surfaced. Living under the name of Jim Gilroy in Joplin, Missouri for the past five years.
FRANK:  How'd he turn up?
WATTS:  Missouri state trooper was shot last night, point-blank. The car at the scene is registered to Jim Gilroy. State police lifted his prints out of his house and sent them out on the N.C.I.C. They matched Waterston's. We picked it up here.
FRANK:  Let's make sure we don't lose him again.

 

[Next day. Morning, Bobby and Maddie are again on the move as their car travels along a road.]

MADDIE:  Think he's all right back there?
BOBBY:  Couldn't say.
MADDIE:  Well, when are we going to pull over and ask him where he is?
BOBBY:  Don't worry about it, okay? We just gotta find a back road out of this state and we'll be fine.

[She looks down at ring on her right forefinger, distractedly playing with it using her thumb.]

MADDIE:  Think Jim'll tell us where he is?
BOBBY:  (snaps at her) Maddie! He's gotta be damn sure I will kill him if he doesn't, so just back off!

[She shuts her eyes for a moment, then turns and stares out the car window.]

BOBBY:  Hell, I'm doing everything I can for you.

[She doesn't respond but continues to look out the window.]

 

[Frank and Peter Watts are on the road making their way to Gilroy's house in Missouri. Watts is driving as Frank reads some papers in his hands which Watts has provided him with.]

FRANK:  You have to appreciate Jim Gilroy's discipline - a man of his impulses, able to keep quiet these past five years.
WATTS:  He wasn't unknown to local PD but, uh, he never broke a law.
FRANK:  He was facing multiple murder charges - capital punishment. He'd gone underground successfully. Why risk it?

[They both look at one another. Neither one has an answer to the question.]

 

HASKEL RESIDENCE
3:06 PM

[Later, Frank and Watts arrive at the Haskel residence. Several state patrol cars are at the scene. They walk up to the open front door and are met by an officer.]

OFFICER:  Can I help you, gentlemen?
WATTS:  We're expected, officer. Is Captain Bigelow inside?
OFFICER:  Yes, sir.

[He nods and steps aside, allowing them entry into the house. Watts enters first.]

[Inside, several officers are searching through the house, taking photographs, etc. Watts and Frank enter the living room where they see a large screen TV - 45" or greater - against one of the walls. The officer taking the photos has finished his work. Another officer can be seen speaking with the captain who turns and faces Watts and Frank when he notices them.]

BIGELOW:  I'm Captain Bigelow, Missouri State Police.
WATTS:  Peter Watts. This is Frank Black.

[Bigelow and Watts shake hands as Frank walks around the room, looking at things.]

BIGELOW:  You know this guy, Jim Gilroy, who shot my trooper?
WATTS:  We know him by another name, but yes, Frank pursued him while working at the F.B.I.

[Frank walks over and looks out the window next to the TV.]

BIGELOW:  How violent is this fugitive?
WATTS:  He murdered three women in Virginia over a Labor Day weekend. The funerals were closed casket. The morticians were unable to satisfactorily reconstruct the bodies.
BIGELOW:  He won't get away from us.

[Frank turns back to look at the TV screen. He sees something there so he turns on the TV and there is a solid blue screen.]

FRANK:  You see this? Scratched on the TV.

[Letters can be seen on the screen: 'Angel']

BIGELOW:  What the hell does that mean?
FRANK:  I don't know.

[Frank then can be seen climbing the stairs to a bedroom. He closes his jacket, snapping it shut, as he enters the room.]

[He looks around the room - at various items strewn across a dresser with a vanity mirror: necklaces, overturned bottles, a comb, a hairbrush, photos.]

[He notices another mirror in the room. This one is full length and hangs on the wall. It is shattered and a couple of the pieces are missing. He looks more closely at it. We see him reflected in the mirror. Then he moves off, the mirror itself comes into focus and we see what he has been staring at: there are blood stains on the mirror near one of the missing shards.]

[Still reflected in the mirror, but from a different angle, we see Frank leaving the bedroom, walking down the hall and entering the bathroom.]

[He pulls on a rubber glove, crouches down beside the bathtub and runs his finger along a stain in the tub. He stands up and looks at his fingertip in the sunlight streaming in from the adjacent window. It looks like blood. He looks up and catches his own reflection in the medicine cabinet's mirror. It triggers a vision: Maddie's mother, Killean Marie, overwrought, crying, and looking at herself in the same bathroom mirror; then she is looking at herself in the bedroom mirror before she pounds her fist against it, shattering it; a faucet is turned on, water pours into the bathtub; Gilroy's face is reflected in a mirror shard, same shape and size as the missing piece from the bedroom mirror, which he is holding in his hand; he then moves his hand which still holds the mirror shard and still reflects his image - he seems to be handing it to Killean, who is kneeling beside the tub, her arms resting on its rim; an extreme close up of her face, then of the broken mirror which she is holding upright in her hand - it is narrow and pointed like a knife; several blurred images of her face and eyes; a close up of the shard cutting into her wrist and of blood; a close up of her eyes again; a close up of the shard, her wrist, and the blood; it begins to drip off to one side; a flash of bright white light; a close up of her mouth; then of the blood as it drips and falls from her arm; blurred images of her face; a large amount of blood drips along the side, down into the tub and mixes with the water from the still running faucet - the shard can be seen through the blood and water on the floor of the bathtub; and a final flash of white light. He hears the mirror break as Killean strikes it with her fist, then he hears her sobs throughout.]

[Frank leaves the bathroom, turns and heads down the hall again, stopping at Maddie's bedroom.]

[He looks inside and sees several small dolls sitting in a chair. Some small framed photographs and a lamp are on a nightstand. He then looks over at her bed. It is unmade and covered with splatters of blood. Captain Bigelow steps up behind Frank.]

FRANK:  There's blood residue in the bathtub.
BIGELOW:  A woman died here recently. Unrelated to this, as far as we know.
FRANK:  Who?
BIGELOW:  Killean Haskel. She bled to death in the bathtub. They buried her yesterday.
FRANK:  A suicide.
BIGELOW:  That's what the coroner concluded.
FRANK:  You might want to reconsider that.

[Frank enters the bedroom. Bigelow follows him. Watts can be seen standing in the hallway, looking into the bathroom.]

[Frank begins looking at some of the items in Maddie's room. He picks up a small photo album, carefully handling it only by its edges. He opens and looks at some of the photos. There are several black and white images.]

[The first is of Killean with her husband, John Haskel. It looks like a prom night photo. A second photo on the opposite page, is of John Haskel.]

[Frank turns the page.]

[A partial view of the upper photo on the page is of Killean smiling. The lower image is of John smoking a cigarette, sitting on a boulder by a stream or lake. Both are in color.]

[Frank turns and shows the photo to Bigelow.]

FRANK:  Is this Killean Haskel's husband?
BIGELOW:  Must've been. She was divorced, as far I as I know.
FRANK:  Did she have any children?
BIGELOW:  Yeah, a daughter. Madeline Haskel, 20 years old. She lived here, too.

[Frank looks at a photo on the opposing page.]

[It is of John holding a small girl in his arms - Maddie, as a child. It is in black and white.]

BIGELOW:  We haven't located her yet.
FRANK:  Hmm.

[Frank seems puzzled. He turns to look at the blood splattered on the bed. Watts enters the bedroom.]

[Frank has another vision: Gilroy straddling Maddie on top of the bed; Maddie is screaming: 'No! Stop it! No!'; Gilroy licks his fingers.]

FRANK:  Has this blood been typed and crossed-matched?
BIGELOW:  We assumed it was the mother's. I'll get a tech to take a sample.
FRANK:  I think it's important we find the daughter.

[Watts nods in agreement.]

BIGELOW:  She involved?
FRANK:  An inordinate amount of violence and suffering has occurred in this house. She might know something that could help us.

 

[Night, outside a diner. We hear Maddie's narration of one of the many letters she's written to Angel. The camera slowly moves in closer to the diner where we can see Bobby and Maddie sitting at the counter through the window.]

MADDIE:  (VO) Dear Angel, I was just thinking today of Momma - how she had the softest, quietest voice you ever heard, like a willow in a breeze. In church, when she sang, people standing around her would hush just to get a better listen. I can't help thinking how sad all this would have made her.

[Perspective shifts to inside the diner. Bobby is eating as Maddie continues to reflect on her life and narrate the unsent letter to Angel.]

MADDIE:  (VO) She never liked Bobby much and, for whatever reason, I fell in love with him. He paid attention to me, made me feel pretty.

[She watches him eat, but eats nothing herself. She shakes her head and just continues.]

MADDIE:  (VO) Saw him sitting on the hood of his Firebird late one summer night in high school. He was one of those types of people who acted fearless, like he had a secret. I never had secrets.

[She opens up her wallet, pulls out a photo of her mother and looks at it.]

MADDIE:  (VO) Momma had a hard life. Guess I'm kind of glad you weren't around to see her hurt like she did. I'm not saying this like it's an excuse for anything that happened, just that, well, I never wanted to be one of those people that gets too used to being sad. That must sound funny coming from me. Love, Maddie.

[She turns and looks out the diner window.]

[The scene fades into the next. It is later that same night. They are both in the car and drive to an isolated area. Bobby pulls the car over to one side and parks. He steps out of the car and has a shotgun in his hand. He walks to the rear of the car, unlocks the trunk with a key and opens it.]

[Inside, Gilroy looks up at Bobby. His head is covered with blood from the blow earlier.]

BOBBY:  Where is he?

[Gilroy does not respond.]

BOBBY:  (repeats) Where is he?

[Bobby looks up, then hits Gilroy with the butt of the shotgun. Gilroy lets out a grunt. Maddie can be seen sitting still inside the car, listening. She covers her ears when she hears the blow and the groan. She shuts her eyes tightly.]

BOBBY:  Answer me.

[Gilroy groans again.]

[Maddie remembers a childhood birthday: her parents walking towards her, Killean holds a birthday cake in her hands, both are smiling; the cake has a six lit and a seventh one in the shape of the number '6' which is also lit.]

Killean:  Happy birthday, sweetie.
John:  Happy birthday, Maddie.

[She can still hear Bobby shouting at Gilroy outside. She covers her ears even harder, holding onto the birthday memory.]

Killean:  Make a wish.

[The candles are blown out.]

[Outside, the beating continues. Inside, Maddie still covers her ears with her hands.]

GILROY:  (shouts) Stop! All right! I'll tell you! I'll tell you!

[Maddie begins crying.]

[fade to black]

[polaroid fade up]

MISSOURI STATE POLICE BARRACKS
JOPLIN, MISSOURI
10:03 PM

[Outside, night. The building can be seen as several officers enter and exit. Traffic moves along in front of the building.]

[Inside, several officers, U.S. marshals and others, go about their work. At a table in the middle of the room, Watts sits before a computer. Bigelow and Frank stand behind him, looking at the screen. They are watching a video of the shooting of the trooper. A hidden camera had recorded the incident from inside the trooper's car.]

BIGELOW:  Trooper took the proper approach. He did everything accordingly, but he never saw the gun. Been over it a hundred times.

[The computer screen is shown and the video is running. There is a date/time stamp on the lower left hand corner. It reads: '23:18 1-17-1997' There is no audio. We see the trooper as he approaches the driver's side of Gilroy's vehicle as well as the tag number on the license plate: 'RH7-487.']

FRANK:  Stop it there. Pan right.

[Watts hits the 'P' key on the keyboard several times, moving the image to the left and centering the right hand portion of the screen.]

FRANK:  (to Bigelow) Do you have your report here?

[Bigelow hands Frank a folder.]

BIGELOW:  That's a complete forensic rundown from the scene, including ballistics.

[Watts runs the video again. It advances a little further this time till just after the shooting and the trooper is thrown backwards from the impact.]

FRANK:  Stop there.
BIGELOW:  Killer used armor-piercing rounds.
WATTS:  Penetrated the vest just enough to cause death by hydrostatic shock. His internal organs were destroyed by the shockwaves from the impact.
FRANK:  Know what's wrong about this M.O., Peter?
WATTS:  Jim Gilroy never used a gun.
BIGELOW:  How'd he kill those women?
FRANK:  Garroted. Cut.
WATTS:  Wait, I'll enlarge it.

[He hits some more keys and zooms in several times on the image, focusing on the rear windshield.]

BIGELOW:  What are you trying to say? Are you saying Jim Gilroy is not the killer?
FRANK:  The man you know as Gilroy, is the man we know as Jake Waterston. He's not an unintelligent man. He's neither rash nor careless. If he had no reason to believe his new identity was being threatened, he wouldn't act impulsively.

[Watts runs the video again. An extreme close up of the passenger side of car now fills the screen. Something can be seen briefly moving inside the car.]

FRANK:  Go back.

[Watts rewinds the clip. The movement can be seen again. Frank points to the screen.]

FRANK:  Did you see that?
WATTS:  Movement. Something picked up the light.
BIGELOW:  I'm not sure I see it.

[Watts rewinds the clip and runs it again.]

FRANK:  Someone's sitting in the passenger seat.
BIGELOW:  Gilroy.
FRANK:  Gilroy's 6 foot 2. That person's much smaller.

[Frank takes a look at the report as Watts runs the clip once more.]

FRANK:  The crime scene report describes two different blood samples taken at the scene.
BIGELOW:  One was the trooper's - B-negative. The other's A-negative.
FRANK:  The second sample, the A-negative, that's Gilroy's blood type.

[Watts nods.]

FRANK:  There was no evidence that Gilroy was wounded at the shooting.
BIGELOW:  We considered he may have been injured earlier.
FRANK:  I'm not sure that Gilroy's behind the wheel.
BIGELOW:  Who's the passenger, then?
FRANK:  It could be the daughter, Maddie Haskel.
WATTS:  Hmm.
BIGELOW:  If Jim Gilroy isn't driving the car and he's not the passenger, then where the hell is he?

[fade to black]

[polaroid fade up]

SPRINGDALE, ARKANSAS
12:15 AM

[Night. Bobby and Maddie drive down a dark road. They turn onto a private road past a mailbox with a name printed across it: 'NESMITH.']

[Inside the car, Bobby reaches into his pocket for a bullet, puts it into an empty chamber in the gun as he continues to drive. Fully loaded, he flips the cylinder back into place. He stops the car, reaches over to a sleeping Maddie beside him, and nudges her awake.]

BOBBY:  Maddie, wake up. Wake up.

[She opens her eyes and looks at him.]

BOBBY:  We're here.

 

[The Black residence. Catherine in bed reading a book. Jordan is sound asleep beside her. The phone rings. She removes her eyeglasses and picks up the cordless phone from the bed, switching it on.]

CATHERINE:  Hello.
FRANK:  Hi, it's me.

[Perspective shifts to Frank who is phoning from a motel room.]

CATHERINE:  How are you, sweetheart?

[Some photos from the Haskel bedroom can be seen spread out across Frank's bed.]

FRANK:  Good, just tired. Just calling to say goodnight. Jordan asleep?
CATHERINE:  She tried to stay awake for your call.

[Frank sits on his chair and leans back.]

FRANK:  I'm sorry.
CATHERINE:  How's it going?
FRANK:  (unconvincingly) Fine.

[Perspective shifts back to Catherine and alternates between the two during the remainder of the phone conversation.]

CATHERINE:  You have to do better than that.
FRANK:  Just frustrated. A local officer was killed. Situation's very tense.
CATHERINE:  Do you have a suspect?
FRANK:  Local PD think they do, but I disagree.
CATHERINE:  Why?
FRANK:  I came down here looking for a man I've chased before, but something else is going on. Another crime is being committed, maybe.
CATHERINE:  You're in this guy's head pretty deep, then?
FRANK:  No, somewhere else. There's a young woman involved.

[Catherine can be seen listening carefully to Frank as he speaks.]

FRANK:  I believe she's with the killer, but an innocent.
CATHERINE:  Why is she with him?
FRANK:  That's what I need to know.
CATHERINE:  Get some sleep, Frank.
FRANK:  Hey, I love you.
CATHERINE:  Me too. Talk to you tomorrow.
FRANK:  Yeah.

[He hangs up the phone and looks through several smaller photographs he's been holding in his hand during the phone call home.]

 

[Outside, the Nesmith residence. The Nesmiths' pet dog is barking and he's chained to the front porch. It is raining heavily and thunder can be heard. The exterior of the house can be seen as the dog continues to bark in the direction of Gilroy's car which is parked behind the Nesmiths' red pickup truck.]

[Inside, the dog's barking awakens the Nesmiths who are both in bed. Mr. Nesmith turns on a lamp on the nightstand beside the bed.]

MRS. NESMITH:  What's got into Lottie?
MR. NESMITH:  Ah, no idea.

[He gets out of bed and goes downstairs. He walks over to the front door, pulls back the curtain and raps on the glass.]

MR. NESMITH:  What the sam hill are you barking at, girl?

[The dog stops barking.]

BOBBY:  Me.

[Sound of thunder. Nesmith turns to find Bobby pointing the gun at him. He also shines a flashlight at his face, making it difficult for the man to see without squinting.]

MR. NESMITH:  Who are you? What do you want?
BOBBY:  Where is he?
MR. NESMITH:  Where's who? How'd you get in here?
BOBBY:  Don't move. Just tell me where he is and I'm gone.
MR. NESMITH:  I don't know what you're talking about. You get the hell out of here, right now!

[He moves towards Bobby.]

[Perspective quickly shifts outside and to Maddie's POV from inside Gilroy's car.]

[She sees the flash and hears the discharge from the gun as it is fired. She jumps at that instance and the dog begins barking again. Mrs. Nesmith calls out from upstairs.]

MRS. NESMITH:  Fred! Fred!

[Perspective remains with Maddie outside in the car. She continues to stare at the house. Then briefly moves her eyes, looking about. Mrs. Nesmith shouts some words but they are muffled, incomprehensible. Then she screams. Maddie looks up at the second floor bedroom sees another flash and hears a second shot fired, then a third. She jumps both times and cringes.]

[The dog has been barking since the shootings began, then, finally quiets down, never taking her eyes from Gilroy's car.]

[Then Bobby comes out from the house and returns to the car.]

MADDIE:  (angrily) What'd you do?
BOBBY:  Nothing.
MADDIE:  (shouts) Tell me, tell me, tell me!

[She begins hitting his shoulder.]

BOBBY:  (shouts) Shut up! Shut up! Don't make me hit you, Maddie!

[She begins crying.]

BOBBY:  Maddie, he wasn't there! He wasn't there.

[He holds her hand, preventing her from hitting him further and tries to calm her down.]

BOBBY:  Gilroy lied to us.

[She hits him once more to move him away from her as she continues to cry.]

 

[Later, Bobby opens the trunk. He and Maddie look down at Gilroy.]

BOBBY:  Truth or dare, brother. Tell us where to find Angel. And this time, it better be the truth.

[Bobby pulls the gun out from his waist and points it at Gilroy's groin. He cocks the hammer.]

BOBBY:  Don't be brave, man. Be smart. Where is he?
GILROY:  (weakly) Ah, you're gonna kill me either way.
MADDIE:  Just tell us where he is. (shouts) For God's sake!

[She rushes over, grabs Gilroy by the collar and begins shaking him.]

MADDIE:  Tell us where he is!
GILROY:  Get her off me!
MADDIE:  Please!
GILROY:  Get her off me!
MADDIE:  Tell us where he is!
GILROY:  Get her off me!
MADDIE:  Tell us where he is!

[Bobby grabs Maddie and pulls her off Gilroy. She shoves him away from her.]

BOBBY:  Maddie, getting hysterical, that ain't gonna help!

[He again points the gun at Gilroy, this time at his heart.]

GILROY:  No, wait. Wait. I'll tell you. I'll tell you.

[Gilroy groans.]

 

[Later, Bobby starts pushing the car into a lake as Maddie again narrates another letter to Angel.]

MADDIE:  (VO) Dear Angel. I was at church Easter Sunday and the minister was talking about the mystery of faith - how easy it is to doubt what you can't prove and how even though none of us saw the miracle in the Lord's tomb that day, all's we had to do is believe in it hard enough and it would be true, and that's what faith was.

[The car begins to go under, helped along by gravity.]

MADDIE:  (VO) He said that we can't be weak, that we can't dismiss the miracle, that we have to be strong enough to make mysteries real.

[Bobby looks over at Maddie who is again crying.]

MADDIE:  (VO) How I wished you had been sitting there with me that day. I can't see you. I can't touch you. But you're always in my heart. Love, Maddie.

[The car is nearly completely submerged.]

 

HASKEL RESIDENCE
1:30 AM

[Outside. All is still. Inside, Frank has returned for another look at things. No lights have been turned on. He uses a flashlight to guide his way around the house.]

[He enters the bedroom and heads for the dresser, picking up the photo album again. He flips through the pages with his left hand, glancing quickly at several of the photographs. He leaves the album on the bed. He looks at a row of books behind the bed's headboard. All are children's books. He then comes upon a red high school yearbook. Its cover reads: 'WEST HIGH SCHOOL.' He picks it up, as well as a blue yearbook underneath it and sits down in a rocking chair to look at them both.]

[He opens the red yearbook first and looks at a page filled with students' photographs and a banner that runs vertically along the left side of the page with the letters: 'ESL.']

[On the opposing page, there are more photographs and a title which reads: 'Pre-Employment.' Under these items is another title: 'Undergrad Poll: Grade 11' and the results of the poll which reads as follows:]

GIRLS BOYS
BEST LOOKING Sara Johnston Greg Drazenovic
BEST DANCER Elizabeth Wagner Dave Park
BEST DRESSER Samantha Levy Daniel Chan
MOST ATHLETIC Tara Cadman Dave Juarez

[Frank turns the page and quickly looks at several photos of boys and girls until he finds Maddie's picture between a boy and another girl. Presumably this is the yearbook from Maddie's junior year in high school. The caption at the left of the photos reads: ]

Erik Gerlund Maddie Haskel Kari Hook

[He then opens the blue yearbook, presumably from Maddie's senior year in high school. He quickly turns the pages.]

[One that we see on screen shows several students' photographs in a number of rows. Only two of the students' names can be seen: 'Lipiner, Lisa' and 'Liu, Juanita.' Underneath this, is a small heading which reads: 'WHAT CAN BE DONE TO HELP SOLVE ENVIRONMENTAL PROBLEMS?' There is a quote from someone listed as 'Anonymous' but only part of it is visible on screen: '(You don't get government... against environmental... )']

[He turns to another page and finds several pictures, including Maddie's. There is another girl's photo but no name is visible and there is a boy's photo: 'Erik Gerlund.' Another boy's photo is only partially visible but his name is seen: 'Ross Framo.' Beneath Maddie's photo and name is a hand-written inscription which reads:
Dear Maddie . see you right after BASIC TRAINIng - then you're mine.
Love Bobby W .]

[He then turns several pages, quickly checking the names of all the students for someone matching the name: 'Bobby W.' There is a close up of a page and four quotes from four students can be seen with their photos and names. Some are only partially visible.]

[The first is a girl's quote, picture is partially visible but her name is not shown. It reads: 'This year has lost leaves and litigations... but gotsa move on. So Tulip, Juane, Seattle? Ya know. Ya know! Moms, pops, kids... THANX. Me digs, but gotta roll. Time for music.']

[The second is of a boy: 'DEAN WALKER.' His picture is visible and his quote reads: 'Thanks to all my friends at West High who have made my 365x5 days so memorable and colorful. FM: friends, summer. Special thanks to Vanessa. Good luck grads, and master your life!']

[The third is of another boy whose picture is not visible. His name is: 'BART WEAR' and his quote is only partially visible. It reads: 'Thanks to all who made my life at West High so memorable. Special thanx... ']

[The fourth and final photo and quote are of 'ROBERT WEBBER' 'Being all I can be.']

[As Frank turns the yearbook over, several envelopes fall out onto the floor. He picks them up and looks at them. All have stamps on them. The first one is handwritten and simply addressed to: 'Angel Haskel.' It bears a 22-cent stamp and is unsealed. He removes a handwritten letter on printed stationery. Maddie narrates the letter as Frank reads it and we see it on the screen.]

MADDIE:  (VO) Dear Angel, I never told you about the night you left. I'd gone out for groceries and when I came home you were gone. I was terrified. I was lost. I couldn't get a straight answer out of anybody. I must have driven for hours looking for you, but there was no sign. I got tired and I kind of gave up. I'm sorry. I'm sorry I gave up on you that night. Please forgive me.

[He opens another letter. This one is dated: 'December 24.']

MADDIE:  (VO) Dear Angel, It's Christmas Eve. I remember when I was ten years old and I caught momma putting presents under the tree. Broke my heart. Believing in Santa was the last bit of little kid mystery left in the world. I'm looking up at the dark, winter sky right now, wishing that weren't true, wishing that old guy in the red suit would bring you home. I miss you so much. I got to go. He hates it when I write to you. I can hear him coming up the stairs.

[Frank looks up at the door to the room, then turns and shines the flashlight on the blood-stained sheets on the bed. It triggers a series of images: several close up images of Gilroy's eyes, bathed in a yellow light; Gilroy walking into the bedroom, drinking from a bottle of gin; an extreme close up of Gilroy's hand on the bottle; several close ups of Gilroy holding something near or placing something into his open mouth - could be a thin hand-rolled cigarette or a toothpick; then several close up images of him drinking again, bathed in a very bright white light; finally another close of up his face looking directly at the camera. He hears the sound of a gun shot, panting and a quickened heart beat.]

[Frank then hears footsteps, stands up and walks towards the door. It is Watts who shines a flashlight on him and enters the bedroom to join him.

WATTS:  Anything?
FRANK:  Just some letters that were never sent.
WATTS:  Who's the addressee?
FRANK:  I think they're to her father.
WATTS:  Records show the father's name is John Haskel. He split. Long gone.
FRANK:  He left some deep wounds.
WATTS:  Maybe that's where they're headed.
FRANK:  Maybe.

[They both hear a car pull up outside. Through the window, we can see that it is a police vehicle with its lights flashing. Frank and Watts go out to meet with Captain Bigelow.]

BIGELOW:  We located Jim Gilroy's car.
FRANK:  Where?
BIGELOW:  Two hours south of here in Springdale, Arkansas.

 

[Later at the lake, a man in scuba gear prepares to attach a cable to the rear bumper of Gilroy's car in order to retrieve it from the water. Another man assists him.]

[As Frank, Watts and Bigelow arrive, we see several other police vehicles already at the scene. They walk past the truck with the winch and approach Trooper Flanagan.]

FLANAGAN:  Got a call from the caretaker. He was, uh, coming by to drop off some fertilizer.
FRANK:  How long ago?

[Frank walks closer to the water's edge and looks out onto it.]

FLANAGAN:  Three hours ago. Maybe a little more.

[He turns suddenly.]

FRANK:  Get it out of there.
FLANAGAN:  What's the rush?
MAN:  Crank it up, Roy! Come on!

[They hoist the car slowly out of the water. Two troopers prise open the trunk with crowbars. Water flows out as Gilroy gasps for breath.]

FRANK:  It's Jim Gilroy.

[Gilroy tumbles down onto the ground.]

FLANAGAN:  Get a stretcher over here!
WATTS:  (to Flanagan) Where's the main house from here?
FLANAGAN:  About a hundred yards over there, but there's nobody home.
WATTS:  (to Frank) They're dead, aren't they?
FRANK:  (nods) Yeah.
BIGELOW:  We're right back where we started.
FRANK:  No. Now, we have someone to talk to.

[He and Watts head back towards their car.]

 

[Elsewhere: The Nesmiths' pickup truck can be seen parked somewhere isolated. Inside, Bobby and Maddie sit quietly. He strokes her hair and continues to do so as he speaks to her.]

BOBBY:  We're going to find him. You happy?
MADDIE:  Yeah.

[He reaches over and kisses her on the cheek. She tries to push him away but he's all over her.]

BOBBY:  Then prove it.

[He pulls her to him and kisses her on the lips.]

MADDIE:  Bobby, no! Bobby! Stop it! No!

[She tries to fight him off but does not succeed.]

MADDIE:  Bobby! Stop, please!

[Perspective shifts to outside the truck. We continue to hear her in the background for a bit, then we hear Maddie in voice over.]

MADDIE:  (VO) I've never been clear on why they call it 'making love.' Every time I let Bobby have me, it felt more like, like, 'making peace.'

[Perspective shifts to Maddie, continuing her narrative, with her eyes shut. She is speaking to someone else in the room with her.]

MADDIE:  You know, killing, killing time - a few precious minutes to myself.

[She opens her eyes.]

MADDIE:  I found out my real dad had hit my mom a couple times. Then she took up with Jim and he just hit her more often.

[She becomes emotional but struggle to maintain her composure.]

MADDIE:  I can't stop blaming myself for what happened to my mom. When, when she found out what Jim had done to me, she just, she couldn't live with it. I know I'm guilty for letting what happened happen. If I didn't stay in that car I knew I'd never see Angel again.

 

[A guard unlocks a door and allows Frank to enter an area which leads to an infirmary cell consisting of a see-through steel mesh screen. Frank looks into the cell and listens to an interrogation that's already underway.]

[Inside the cell, Jim Gilroy lies in a hospital bed. Bigelow and Flanagan are present and are asking him questions.]

GILROY:  I ain't talking.
BIGELOW:  Who put you in the trunk?

[The guard then unlocks a gate to the cell, steps aside to let Frank pass through, then steps back out and shuts the gate, locking Frank inside the cell.]

MERCY HOSPITAL
JAIL WARD
2:37 AM
GILROY:  I don't remember.
FLANAGAN:  You know who killed the Nesmiths?
GILROY:  Never heard of them.
FLANAGAN:  They were the people that lived on that farm.
GILROY:  I don't know nothing. I was in the trunk, remember?

[Gilroy's face is covered with bruises from the beatings Bobby gave him. His left eye is swollen shut.]

BIGELOW:  Why'd they try to kill you?
GILROY:  Hey, can I get a soda or something?

[Frank joins in on the interrogation.]

FRANK:  Who was Maddie riding with?
GILROY:  What's that?
FRANK:  You know who she is.

[Gilroy stares straight ahead of him, trying to avoid making contact with Frank's eyes.]

GILROY:  No, I don't.
FRANK:  I know you.
GILROY:  Really?
FRANK:  You used to live at 898 Gadsden Place, Newport News, Virginia. You worked at a mill by the docks. Drove a '73 Impala. Your name is Jake Waterston and you killed three women there.

[Gilroy looks at Frank out of the corner of his eye.]

FRANK:  So you have no reason to lie.

[Gilroy shakes his head, then chuckles lightly to himself and finally smiles broadly before becoming serious again.]

GILROY:  I want to help you. Really, I do. They beat me, left me in the trunk. If it wasn't for that air pocket, I'd be dead. You think of that?
FRANK:  Yeah, but not the way you do. Who's riding with Maddie?
GILROY:  The little ditchweed was with her boyfriend, Bobby Webber.
FRANK:  Why did Webber assault you?
GILROY:  'Cause I wasn't ready for him.
FRANK:  What did you do to Maddie?
GILROY:  Nothing.
FRANK:  You killed her mother.
GILROY:  Killean was a hothead. She committed suicide.
FRANK:  You let her. You watched. You perpetrated the abuse on Maddie.

[Frank hears the outer gate open and the sound of the guard's keys. He looks over and sees Watts, then turns back to ask a final question.]

FRANK:  Who's 'Angel?'

[Gilroy does not respond. He turns his face away from Frank.]

[Frank, knowing that he's gotten all that he will from Gilroy, walks over to speak with Watts through the screened cell wall. He turns to look back at Gilroy before whispering to Watts so that he won't be overheard.]

FRANK:  What do you have, Peter?
WATTS:  I've located Maddie's father.
FRANK:  Where?
WATTS:  He was an inmate at the Fond Du Lac Correctional Institute for men in Waupan, Missouri. He died there a year ago.
FRANK:  Where's he buried?
WATTS:  No one claimed the body. The Department of Corrections leases some plots in a potter's field area near the prison. Grave is unmarked.

[Frank nods.]

WATTS:  So, either she doesn't know that her father is dead, or she…

[Frank finishes the thought for Watts.]

FRANK:  ...she's after something else.

 

[Night, the Nesmiths' pickup truck is seen driving along a dark stretch of road. Bobby drives as Maddie is asleep beside him.]

 

[Meanwhile: Frank steps outside the hospital and sighs deeply. He's joined by Watts who grins before speaking.]

WATTS:  The Newport News, Virginia, D.A., sends his best. He's starting extradition proceedings in the morning to get Waterston back for trial. He didn't get away this time, Frank.
FRANK:  This isn't finished, Peter.
WATTS:  You take away her father as a destination, that doesn't leave much.
FRANK:  She knows he's dead. She wrote half a dozen very intimate, very personal letters to him, yet she stayed in the car watching the violence that she's seen all her life.
WATTS:  Were any of the letters written after his death?
FRANK:  Yeah, but the language was present tense - almost a confession, or an oral history to him, or...

[He stops in mid-sentence, thinks he's figured it out and looks at Watts.]

WATTS:  What is it, Frank?
FRANK:  I need Maddie Haskel's medical records. I think I know what she's after. I think I know who 'Angel' is.

[fade to black]

[polaroid fade up]

[Daybreak, the Nesmith's pickup drives along another road. It passes a road sign which reads: 'LITTLE ROCK 20 MILES.']

ARKANSAS STATE POLICE HEADQUARTERS 6:28 AM

[Outside the building. Inside, Watts sits at a desk, looking through some papers. Frank sits on the edge of the desk, doing the same. Bigelow walks over to them both.]

BIGELOW:  Anything yet?
FRANK:  No.
BIGELOW:  No sign of that pickup on the wire. They're long gone.

[Frank reaches for a folder beside him and looks at a number of documents. The second one is a birth certificate. It reads: 'THIS CERTIFIES THAT ANGEL WEBBER WAS BORN IN ST. MARY'S HOSPITAL.' The date is: 'July 14.' The baby's footprints are also on the certificate.]

FRANK:  Peter.
WATTS:  What do you have?

[He sits down beside Watts and shows him the birth certificate.]

FRANK:  Maddie Haskel gave birth to a baby boy in St. Mary's Hospital in Joplin, one year ago.
WATTS:  Father unspecified. What happened to this baby?

[Frank shakes his head and looks at Watts.]

FRANK:  Can we access Gilroy's bank records from here?
WATTS:  Yeah. I just need a phone line.

 

[Bobby and Maddie are still on the road, traveling towards their next destination. She stares out the window.]

MADDIE:  Go faster.
BOBBY:  What are you going to say to him when you see him?
MADDIE:  I don't know.

 

[Gilroy's bank records scroll on a laptop computer's screen. Watts sits at the keyboard and states his findings for Frank who is looking on.]

WATTS:  Gilroy maintained a fairly erratic bank balance over the last couple of years.

[He pauses the scrolling and points to some of the transactions.]

WATTS:  Ten months ago, a wire transfer of $7,000 was made into an account in Gilroy's name.

[Bigelow, following what is being said, moves closer to hear more.]

FRANK:  That's two months after Maddie's baby was born.

[He pauses, then puts the pieces together.]

FRANK:  Gilroy took Maddie's child and sold it and bought himself a TV.
WATTS:  It's sick, but it's a motive.
FRANK:  That explains why 'Angel' was scratched into the television screen.
BIGELOW:  (incredulous) He sold the baby so he could buy a TV.

[Trooper Flanagan walks over and stands behind Watts, listening to the conversation.]

WATTS:  He wanted something and we live in a world where children have become another form of currency.
FRANK:  That explains why she was in that car. Who transferred the funds to Gilroy's account?

[Watts traces the transaction on the computer. A box pops up on the screen. It reads as follows:
TRANSACTION DETAIL
DATE: 11 OCTOBER 1995
TYPE: TRANSFER FUNDS (U.S.)
FROM: RIVER HEIGHTS BANK
ACCOUNT #: 111254 BARNARD, RUDOLPH LLD
TRANS #: 5
TO: ACCOUNT # 0901232
TRANS #: 9810
AMOUNT: $ 7000.00]

WATTS:  It's from the account of a Rudolph Barnard, lawyer, lives in Little Rock. (pause) So, Gilroy takes Maddie's baby and has this lawyer, Barnard, broker a deal to sell it.
FRANK:  They're still after the same goal, and anyone left that gets in their way is going to die.
FLANAGAN:  I'll call Little Rock P.D. and have them put Barnard into protective custody.
FRANK:  Run a check on Barnard's bank records from the same time period. Hopefully, there would have been a transfer made by the adopting family. We might be able to get to them before Bobby does.

[Watts begins a trace on the lawyer's records.]

FRANK:  (quietly) All for the love of her child.

 

8:46 AM

[The pickup pulls into a driveway leading up to a large white house. Maddie looks up at the house with anticipation. Bobby parks the truck behind another car already in front of the house. He too looks around at the house.]

BOBBY:  Look at this place.
MADDIE:  (smiles) It's beautiful. Angel must love living here.

[Bobby takes out his gun, opens the cylinder, removes some bullets from his pocket, puts them into the empty chambers and flips the cylinder into place. Some flowers are on the seat between him and Maddie.]

BOBBY:  Maddie, your boy's just one year old. He don't know. Let's just go in there, get him, and get out of here. Now don't forget the flowers.

[He gets out of the truck and heads for the house.]

MADDIE:  He must love it here.

 

[Elsewhere: Three police cars, full sirens blaring, drive through the rain on a road in Little Rock. Watts and Frank follow the procession in another car.]

FRANK:  Have the Travises been called?
WATTS:  Line's dead. Little Rock P.D. is responding now.

[The vehicles make a right turn as they pass a road sign that reads: 'LITTLE ROCK CITY LIMITS.']

 

[At the large white house, the Travis residence, the door bell rings. As Wade Travis walks to the front door, there is some knocking. He peers through the peephole and sees Bobby and a bouquet of roses held near his smiling face.]

WADE:  Yes?
BOBBY:  Flowers for Mrs. Adeline Travis.

[He unlocks the door but before he can open it, Bobby shoves his way into the house holding the gun in his right hand.]

BOBBY:  Get back!

[He knocks Travis to the ground and points the gun at Travis' face. Maddie comes in behind Bobby. She is still holding the bouquet of flowers.]

WADE:  We don't have anything.
BOBBY:  I'm sorry mister, but you do. You got Maddie's boy.

[Wade's wife calls out from upstairs.]

ADELINE:  Who was it, Wade?
WADE:  (shouts to Adeline) Lock the door! Stay up there!

[Bobby hits Wade across the face with the back of his hand, knocking him unconscious. He then shouts up the stairs.]

BOBBY:  You better get your ass down here, Adeline!

[Maddie anxiously looks up the stairs.]

[Adeline comes halfway down the stairs carrying Angel in her arms. He is crying, afraid. Maddie stares at the boy, open-mouthed.]

ADELINE:  (frightened) Who are you?
BOBBY:  (angry) You come down here, now!

[She hesitates.]

BOBBY:  Come on!

[He gestures with the gun for her to come down the rest of the stairs. She begins climbing down slowly. Angel is still crying, restless. Maddie has not taken her eyes off the boy and begins crying too. Adeline looks down and sees her husband passed out on the floor.]

ADELINE:  (whispers) Oh, my God!
BOBBY:  Come on!

[Maddie gets more emotional and places her hand over her mouth as Adeline continues down the stairs with Angel.]

BOBBY:  Come on, now! Give her the kid!
ADELINE:  No! Why?

[The anticipation builds in Maddie and she begins to crack a smile at the thought of holding Angel in her arms.]

BOBBY:  Because he's hers! You stole him!

[Angel becomes more frightened.]

ADELINE:  No! We adopted him!
BOBBY:  Don't lie to me! Don't lie to me!
ADELINE:  It was legal! I have the papers!
BOBBY:  Give her the damn boy, now!

[Maddie walks closer to Adeline. Angel continues to wail as Adeline tries to comfort him. Maddie cries again and finally, a sobbing Adeline hands the boy to Maddie who takes him into her arms and speaks softly to him.]

MADDIE:  Hi, Angel! Shhh! Momma's right here. That's right. Shhh!

[She strokes his head, trying to calm him.]

BOBBY:  Come on, Maddie. Let's go.
ADELINE:  Please!
MADDIE:  Have you been a good boy, baby?
BOBBY:  (insists) Come on, Maddie.

[Angel turns to look at Adeline. Maddie tries to get the boy's attention by turning his face towards her own.]

MADDIE:  Aw, look how big you got. And you have your granddaddy's big eyes.

[Angel continues crying, terrified. Maddie hugs the boy, trying to quiet his fears. Adeline watches them.]

BOBBY:  Maddie. Now.

[Maddie kisses her son, then holds him away from her and towards Adeline. She hands the boy back to Adeline who gratefully takes him.]

ADELINE:  Oh, thank you!
BOBBY:  (to Maddie) What the hell are you doing?
MADDIE:  (in tears) Angel belongs here, Bobby.
BOBBY:  Not after all this, he doesn't!

[He starts towards Adeline and the baby. Maddie blocks the way.]

MADDIE:  Come on, let's just go.

[He continues past her and she again blocks him.]

MADDIE:  Bobby, no!

[He punches her in the face, knocking her to the floor.]

[He hears the sound of cars approaching the house. He moves to the window, pulls aside the curtain and looks outside. He sees two Arkansas police cars pull up.]

[Outside, the officers from both vehicles get out, draw their weapons, take cover and aim at the house. One of the officers uses a bullhorn to make an announcement.]

OFFICER:  This is the Little Rock Police Department.

[Just arriving as well are Frank and Watts.]

[Inside, Bobby turns back to Maddie who is crying on the floor.]

BOBBY:  See what you done? You see what you done?

[He looks up at Angel in Adeline's arms and has an idea.]

BOBBY:  (to Maddie) They won't shoot if I walk out holding the baby. (to Adeline) Give me the kid.

[Adeline inches her way up the stairs. Bobby follows. His gun is visible sticking out from the back of his pants' waistline, under his jacket.]

BOBBY:  Give me the kid! Give me…

[Maddie reaches up and grabs Bobby's gun and points it at him. Her lip is bleeding from the punch Bobby gave her.]

[He turns and looks at her. He doesn't believe that she'll shoot him. He grins and moves towards her.]

[Outside, the officers are in position, waiting, when they hear a gun shot.]

OFFICERS:  Shots fired! Shots fired!
RADIO:  Unit 9, you are code 10 until further...

[Maddie door opens the door slightly and looks outside. All of the officers are pointing their weapons at her. Frank rushes out towards the house.]

FRANK:  (shouts) Hold! Hold!

[Maddie watches him as he approaches the house. He cautiously walks up to the door, looking at Maddie, pushes the door wide open and looks inside. Maddie offers no resistance. She appears to be in shock.]

FRANK:  It's over, Maddie.

[Frank takes the gun from her hand. He looks inside again and we see Adeline and Angel sitting beside Wade. He has his arms around his family. And Bobby lies dead at the foot of the stairs.]

FRANK:  That's Angel?

[She looks at the boy and smiles.]

MADDIE:  Yeah.

[She looks Angel one last time as Frank takes her by the arm.]

MADDIE:  Bye-bye, my baby.

[They walks outside together. Frank has his arm around her shoulder as she holds onto him around his waist. He holds the gun by the barrel and away from himself so that the police can see there is no threat of violence. They walk towards the officers and Watts as Maddie resumes her voice over.]

MADDIE:  I haven't seen my boy since that day.

 

[Perspective shifts to Maddie, sitting in an interrogation room at a prison, speaking to someone unseen.]

MADDIE:  The Travises send me a picture once in a while. I asked them not to tell Angel anything about his mother. I don't want him knowing anything about me. I mean, I doubt if, if anybody can love him like I do. But I had a feeling that day that life with me wasn't a price my baby should pay. He, he'd have just grown up to be another Bobby, another Jim, another man like my father. I want a clean life for him. Least I had a hand in giving him that.

[We finally see who she has been speaking to - it is Frank, who is visiting her.]

MADDIE:  You saved me that day. Only man in my life that ever did something nice for me.
FRANK:  You need anything, Maddie?
MADDIE:  No. I appreciate your visiting me. If you get the time, come back, if you can.

[We see them both, sitting across from one another at a table in a room. The door is closed. She is looking at a small object in her hand.]

MADDIE:  Bring your daughter. I'd love to meet her.
FRANK:  I will. You're going to be all right.

[A female guard opens the door.]

GUARD:  Time's up.

[Maddie looks at the guard, then back at Frank.

MADDIE:  I spend my time thinking of Angel. Praying he ain't thinking of me.

[She stands up, walks over to Frank, hands him the object and kisses him on his forehead before leaving with the guard.]

[Frank watches her leave, then looks down at the object in his hand. It is a photograph of a smiling Jordan with a soccer ball in her hands. He looks at the photo, sadly, then stares out in front of him.]

[fade to black]

[end titles]

Starring

Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)
Terry O'Quinn (Peter Watts)
Brittany Tiplady (Jordan Black)

Guest Starring

Heather McComb (Maddie Haskel)
Jeffrey Donovan (Bobby Webber)
John Pyper-Ferguson (Jim Gilroy)
Michael Hogan (Captain Bigelow)

Co-Starring

James Gallanders (Missouri State Trooper)
Steve Makaj (Arkansas Trooper Flanagan)
John Tierney (Preacher)
Renee Michelle (Adeline Travis)
Jim Swainsburg (Sam [Wade] Travis)

Uncredited

Gina Chiarelli (Killean Marie Haskel)
Jim Poyner (Mr. Fred Nesmith)
Mary Black (Mrs. Nesmith)

 

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

Executive Producer: Chris Carter


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