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Transcript of Millennium episode "A Room With No View"

Presented below is an episode transcript of A Room With No View 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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A Room With No View - Transcript



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A Room With No View

[MLM-220 (5C20)]


Written by Ken Horton
Directed by Thomas J. Wright
Edited by George R. Potter
Original air date: 24 April 1998

[Transcribed by Libby]


[Night. A house in a rural area, surrounded by trees.]

FEBRUARY 5, 1998

[Music playing in the house: "Love is Blue". There is movement in a grassy area not far from the house. A young man digs his way out from underground, hauls himself up onto the grass, and then runs off away from the house into the countryside. He stumbles as he runs in the moonlight through a wooded area. The music fades as he gets further from the house. He sees a parked car and warily checks it out. As he goes to lift up the hood, he hears noises in the woods around. He slides underneath the car. Suddenly a rat appears, startling him, and he bangs his head on the underneath of the car. Then the car starts up and "Love is Blue" is heard from the car. He quickly scrambles out and runs down the road. The car reverses, hitting him, then stops further down the road. He tries to run away, although his leg is injured. The car revs up, then drives towards him. He falls over and the car swerves and screeches to a halt, just missing. A figure gets out, first looking like a man, then a woman.]

WOMAN: The pain you feel in your ankle, in your soul, you made this. You are a prisoner to yourself. Not me. You don't love yourself. I love you.

[The figure, now a man again, grabs him and hauls him into the trunk of the car. The figure is now a woman again.]

WOMAN: My love shall set you free.

[She slams down the lid of the trunk.]

[main titles]

[polaroid fade up]

APRIL 22, 1998

[A large building, classic style architecture. Inside, a high school counselor, Teresa Roe, is talking to a student, Howard Gordon. His friend, Landon Bryce, is sitting to one side, reading a magazine.]

ROE: Howard. I really believe you're in over your head. Your GPA is too borderline. Your verbal SATs are above, but your math is below. You have participation in school activities, but it's auto club and baseball.
HOWARD: If what you're saying here is the betting line is to pick 'em, then yeah, I'll place that bet, 'cos I think I can get accepted to Stanford. And once I get in, I, I know I'll do great. I mean, yeah, I could fail, I guess, I don't know. Landon? What should I do, what would you do?
LANDON: Well, what's the problem. You got nothing to lose except the fifty dollar application fee. And anyway ...
ROE: And what would you know about application fees, Landon? They don't charge anything to apply for a job at the Quickie Lube.
LANDON: This isn't about me. It's about Howard's life.
ROE: I don't want him to be disappointed.
LANDON: And you're holding him down.
ROE: A set back early in life is hard to overcome for someone like Howard.
LANDON: Leave your own life out of Howard's.

[She stands up.]

ROE: How dare you. What do you know about life?

[Landon also stands up.]

LANDON: I know that sometimes you need others to help you get where you're going.
ROE: There's a system to this life that you'll never be a part of ...

[The two talk angrily over each others words.]

LANDON: It's not me, it's what he wants.
ROE: ... that doesn't want you, Landon.
LANDON: Are you too incapable of comprehending anything other than your own failure?

[Roe walks off, tight-lipped, and closes down the blind on the internal window – but not before a student on the other side of the window gives a 'thumbs up' sign to Landon.]


[Later. Landon's bedroom. Howard is looking at a Stanford application form. Then he slowly starts tearing it in two.

LANDON: Hey! Idiot.

[Landon was lying on the bed but quickly goes over and stops Howard.]

LANDON: All right, you didn't mess it up too bad. Wait a minute, I think I have some tape in this drawer.
HOWARD: What's the point? She says I can't get in. I mean, she ought to know right? I mean, she's a guidance counselor, it's her job to deal with colleges. You know what I'm saying? I'm nothing.
LANDON: You're not a nothing. Can't let someone else control your life. Especially Roe the Ho. Look, you fill this out, get Coach Edwards give you a letter of recommendation and go to Stanford. Get tons of safe protected trim for four years, come out an engineer, design some buildings and stuff, and me and some construction guys will build 'em for you. So shut up.
HOWARD: Landon, it should be the other way around. I got the grades but you got the heart. [There's a noise from elsewhere in the house.] Is that your dad?
LANDON: He wasn't supposed to be at home until eleven. I'll go see if he has any tape.

[Howard starts completing the form. He's concentrating, then is aware of someone behind him. He looks round and sees a woman, then a demon. The demon roars.]

[Black screen.]


[Autopsy room. Frank and Giebelhouse listen while a pathologist talks.]

DR SHESLOW: Millennium Group autopsy, 23rd of April, 1998, eleven twenty-five a.m. Group Pathologist, Stuart Sheslow. Subject of autopsy, Howard Gordon, age 18, height five-nine, weight one seventy-five, no prior indication of any health problems. County Medical Examiner, Dr Stanley, indicates cause of death as heart failure.
GIEBELHOUSE: [to Frank] Heart failure? He's an eighteen year old. Didn't smoke. He was a catcher, all-county. So between us, Frank, I think the Medical Examiner took a flop on his autopsy because he's never seen anything like this before.

[The two have moved away from the autopsy table.]

FRANK: What's the status on the search for the friend?
GIEBELHOUSE: Landon Bryce?
FRANK: Yeah.
GIEBELHOUSE: Nothing. The kid's gone Elvis. Now, if Gordon had died of natural causes, but there was some kind of accident, I would have expected Landon to call for help.
FRANK: When was the last time he was seen?
GIEBELHOUSE: About three-thirty yesterday. He was with Gordon, they were was arguing with some guidance counselor at Poke.
FRANK: Arguing?
GIEBELHOUSE: Well, Landon was sticking up for Howard. They'd been friends since Little League.
FRANK: Landon had to have been in his own house with Gordon.
GIEBELHOUSE: Wayland Bryce, the missing kid's dad, worked a second shift. Came home. Found Gordon's body.
SHESLOW: ME's finding is in the ballpark.
GIEBELHOUSE: Box seats or upper deck?

[Frank and Giebelhouse move back to the autopsy table.]

SHESLOW: Gordon did suffer a myocardial infarction. But, simultaneously, there is substantial evidence of extreme neurological trauma. Ordinarily I would say it was a vasovagal reaction.
FRANK: An ordinary reaction would be dizziness, at worse fainting.
SHESLOW: Right. This kid basically internally exploded.

[Frank looks closely at the body.]

FRANK: Fear. He died of fright.

[The boy's face shows signs of petechial hemorrhage and his eyelids are puffy.]


['Love is Blue' playing.]

[A young man, eyes and mouth covered with duct tape, is in the trunk of a car. The car stops and he can hear voices outside.]

MAN: Good evening, Ma'am. Do you have any fruits or vegetables with you?

[The young man groans loudly and kicks out, trying to attract attention.]

MAN: Thank you. Welcome to Oregon.

[The car drives off again.]


[A desk with computer and books. Frank is sat at the desk in Landon's bedroom, thinking, holding a pair of dark glasses. He has a vision – the Gehenna devil, a woman, the Gehenna devil, Lucy Butler. This is followed almost immediately with a similar sequence, but this time including a man's face. The visions end and he puts on the dark glasses.]

[Landon's father, Wayland, enters the room. He's dressed in working clothes – jeans, check shirt. His manner is quiet.]

WAYLAND: I know I'm supposed to just let you guys do your job, but, I just ...
FRANK: Need an answer. I'm sorry I don't have any. I'm just sitting here. Trying to get a feel for your son.
WAYLAND: Get into the mind of – a killer?
FRANK: Do you think that's the kind of mind your son has?
WAYLAND: Look, it's almost impossible for a parent to think something like that. But, no, no, Landon has an interesting mind, he has a strong spirit. But he's not criminal. He's not even mean.
FRANK: You say Landon has an interesting mind. In what way?
WAYLAND: Just look at these books. [mispronounces the names] Nabikov, Eco, Delil.... I mean, he gives them to me to read – I can't get through them. I don't know why his grades aren't any better.
FRANK: Mrs. Bryce. She have an interesting mind too?
WAYLAND: Smartest thing she ever did was leave me.
FRANK: You think he left to be with her?
WAYLAND: Landon chose to live with me. Somehow Landon knew I, I couldn't live without him. He knew his mother could. He'd have a nice life with her, comfortable, but he came here.


['Love is Blue' playing.]

[Farmhouse. Night. The car draws up outside. A tall figure gets out and unlocks the trunk. Hauls the boy out and into the house. Drags him along the hall then opens a low, hidden, door in the wall paneling. The boy is protesting but his mouth is still covered in duct tape. The figure, male, hits the boy and sends him sprawling down a short flight of stairs leading into a semi-basement area. The figure hits the boy again, then pulls off the duct tape over his mouth.

MAN: Got a gripe?

[The boy spits at him. The man drags him along a passageway, there are several doors either side with sounds of banging from one padlocked room – someone trying to open it. The man tosses the boy into a room which is bare except for a mattress on the floor. A hand reaches out and peels off the tape over the boy's eyes, then gently strokes his face. It's Lucy Butler.]

LUCY: It upsets me, when you make him have to do that.

[She cuts the tape binding his hands. She stands up and walks to the door. She's wearing a very short, flimsy dress.]

LUCY: I love you. So, please, be good.

[She leaves, locking the door.]

[As Landon looks around, he hears moaning. It's another boy, cowering in the corner, lying on a mattress. He's the boy who tried to escape earlier.]


[white screen]

[Landon's bedroom. Night. Thunder rolls. Inside, Frank is on the telephone – still wearing the dark glasses. He gets no answer and replaces the phone. Watts comes into the room.]

WATTS: Got something?
FRANK: Calling my daughter. Not at home.
WATTS: Crime scene team's been all over this room. No prints, no fibers.
FRANK: Never called from a crime scene before.
WATTS: I found tire marks outside from a pre-radial vehicle. I believe someone was here. Who was in this room made you need to call your daughter?

[Frank has taken off the dark glasses.]

FRANK: Not a who.

[Frank pulls a long piece of tape off the surface of the desk. He holds it up to the light. A strand or two of long hair is stuck to the tape. Watts looks puzzled.]

FRANK: Lucy Butler.


['Love is Blue' playing.]

[Farmhouse. The door to Landon's cell opens. Lucy Butler enters carrying a tray. The other boy looks alarmed. Lucy goes over to Landon who is lying on the mattress, eyes closed. She crouches down next to him.]

LUCY: Landon. Your favorite. Apple cinnamon pancakes.

[Landon ignores her.]

LUCY: Just like home.

[Landon hits out and knocks the tray across the room. Lucy stands up.]

LUCY: Landon. You'll never hear your name again.

[Lucy leaves. The other boy scoots across the floor to the spilled food and hungrily eats the pancakes.]


[Office. Frank and Watts are sitting, Watts at a computer.]

WATTS: Frank, it's a leap to Lucy Butler.

[There are police photos of Lucy Butler on the computer screen.]

WATTS: None of her murders were strangers, even the judge was the one who sentenced her husband.
FRANK: She killed Bob Bletcher in the cellar of my old house.
WATTS: She has no history of involvement with abduction. There's no evidence of her presence at Gordon's murder.
FRANK: I felt her presence.

[Now the computer screen shows a slide of chromosomes.]

WATTS: Chromosome staining procedures on the hair roots, sheath cells, have determined the subject to be male. After her release on the suspicion of Detective Bletcher's murder, the Group maintained surveillance on Lucy Butler.

[Watts hits the mouse button. The computer screen shows an aerial photo of a house and barn surrounded by fields.]

WATTS: According to reports she settled into a farmhouse in Waconda. She only left the house to get supplies. No visitors. No in or out-going phone calls. Wasn't even any internet activity. The only mail that was sent to her were bibles and religious texts.
FRANK: She's selling the idea that the devil is born again.
WATTS: For nine months reports were maintained weekly. But her activity was so minimal she was downgraded and since then the Group member on the case, Olsen, has filed reports electronically once a month. Frank, the evidence, the hair you found at the Bryce's, the motive, these reports, doesn't point to Lucy Butler.
FRANK: No. It doesn't.
WATTS: But you're still going to go out to her place.
FRANK: She killed Bob Bletcher. She took the boy Landon Bryce. Of course I'm going out there.


['Love is Blue' playing.]

[Farmhouse. Landon and the other boy sit on their mattresses. 'Love is Blue' ends, then loops back to the beginning again.]

LANDON: Oh my god. At least Noriega got Van Halen. Is there any way to turn that music off?

[The other boy doesn't respond.]

LANDON: So what is this? What do they do to you here?

[Still the other boy doesn't respond.]

LANDON: Hello? Why are we here? There's other people here, though, right? I heard 'em.

[The other boy reaches under his mattress and pulls out a nail. He scoots over to the wooden paneled walls, which have lots of marks on them. He scratches on the panel: THE TIME IS NEAR. THE TIME IS ... ]

LANDON: Been here a while, huh? Look, just tell me one thing. How freaked out should I be?

[The second sentence the boy has scratched now reads: THE TIME IS H.... The boy leans back against the wall.]

BOY: Why would I want to turn off the music? I love this music.


[A house in a rural area. Day. Frank and Watts drive up.]

WATTS: Olsen was supposed to contact us.
FRANK: I don't think we should wait, do you? Give her a chance to spot us? We'd better get in there. She'll kill Landon.

[Watts checks his gun. Frank puts on his dark glasses. They both get out.]


[Landon's cell. There is a window covered with wire mesh. Landon tries to pull off the mesh. He gives up and leans his back against the wall with a sigh.]

LANDON: My name's Landon Bryce. What's yours?

[The boy doesn't respond. Land walks slowly around the room, touching the walls.]

LANDON: You know, if you're not gonna talk, I'm just gonna call you – Ben, Ben Gunn. You tried to get out of here, Ben?

[The boy doesn't answer, but grasps his ankle carefully.]

LANDON: They do that to you?
BEN: No, I did it to myself. There's only one of them.


[The rural house. Frank goes round the side of the house, a gun in his hand. The sound of 'Love is Blue' can be heard faintly. Watts comes round the other side of the house, making Frank jump. Both men approach the door. Frank cocks his gun.]


[Landon's cell. Landon is inspecting the door.]

BEN: Hey, don't do that. There's no way out. She'll only come in here and love you. And you don't want that. Just sit down, mark your time. We can't beat her.

[Landon goes over to him.]

LANDON: Say my name. Go ahead, say my name.
BEN: Landon. Bryce.
LANDON: Hey, we just beat her.

[Landon goes back to the door as the music loops round to the start again.]


[The rural house. Watts opens the unlocked door and Frank enters, gun at the ready. Frank takes off his dark glasses and grimaces – there's a bad smell.]

FRANK: Landon! Landon Bryce!


[Landon's cell. Landon breaks out the bottom panel of the door. He turns back to look at Ben who moves back against the wall.]


[The rural house. Frank and Watts move through empty rooms. Daylight is streaming through gaps in the window shutters, but it is still dark enough to need flashlights. Watts holds his gun and a handkerchief. The music is now a little louder.]

FRANK: [whispering] Where's that coming from?

[There's a closed door. Watts opens it. Frank groans in disgust. The music is louder.]


[Landon's cell. Landon is now walking down the corridor, trying the doors to other cells. He reaches an unlocked door which he slowly pushes open. The window in this room is open. Suddenly he is hit to the ground. A tall figure repeatedly kicks him.]


[The rural house. Frank opens another door. The music is now louder. In the room is a man, tied to a chair, his back towards the door. Frank goes round to stand in front of the man. The man is dead, decomposing, with maggots on his face. Watts points his flashlight towards the floor, illuminating a cassette player. He reaches down and switches it off.]

['Love is Blue' is silenced.]

WATTS: Activated by motion sensors.
FRANK: Give me that, please.

[Watts hands Frank his handkerchief. Frank pulls aside the man's jacket and pulls out a wallet. He carefully opens it and shows the drivers license to Watts.]

WATTS: Olsen.


['Love is Blue' playing.]

[Landon is being dragged back to the cell. Ben watches warily as Lucy Butler unlocks the door and drags Landon over to the mattress. She lies down on the floor next to him and strokes his chest.]

LUCY: You just don't have the ability, practically or within you, to escape me. No-one does. I'm the only one who understands you. I'm the only one who has ever loved you.

[She leans closer, looks over to Ben who's watching and whispers to Landon.]

LUCY: And if you even try to leave me, he will kill you.

[She kisses Landon on the mouth, but Landon remains passive.]

[Lucy leaves, closes and locks the door.]

[Ben pulls the nail out again from under his mattress. Landon rolls over on his mattress to face the wall. Ben crawls over to him and touches his shoulder. He holds up the nail and points to the wall. Landon takes the nail and scratches a line on the wall – to mark his first day in captivity.]


[white screen]

[Frank's house. Frank is in his sitting room, talking on the phone.]

FRANK: Hello, Ann. Yeah, can I talk to Jordan? Yeah. No, I've been trying to call her. When she and Catherine get back, would you have her call me? All right, thank you.

[He replaces the phone.]

WATTS: Lucy Butler gained access to Olsen's Millennium Group files, possibly tortured him to record his voice-activated code. She's been submitting her own surveillance reports for six months. [pause] It's hard not seeing your daughter every day. I couldn't do it.
FRANK: I can't imagine being Wayland Bryce. Son disappears, maybe he's a murderer, maybe abducted. Father left with a life of nothing but 'as-ifs', 'if-onlys' and ...
WATTS: Landon appears to have been an average student with average grades. No juvenile record. He didn't even bother with the SATs. Yet, he was voted 'most likely to succeed'.
FRANK: Maybe his peers know something his teachers don't.
WATTS: Well, a lot of great men were considered to have no potential. Einstein was thought to be wash-out. Washington's faulty leadership led to the French-Indian War. Lincoln was considered a clown.
FRANK: Did you read Giebs' report on the murder? What was this argument with the guidance counselor and the boys – what was that about?


['Love is Blue' playing.]

[Lucy is sitting on the floor of the cell, stroking Landon's face, his head in her lap.]

LUCY: Love is blue. Not white or red or yellow. Love is not green. It's blue. That is the brilliance of this music. When I touch you, what color do you feel?

[She moves her hand down his chest.]

LANDON: [quietly] Blue.

[Lucy kisses him, pleased.]

[Ben is huddled under his blanket, gripping the mattress.]

LUCY: It makes me so mad when people call this elevator music. See, Mozart, Beethoven, Haydn, they could never compose this music. There, with me, you've already come to know what only the truly gifted can understand. You felt it. Blue.


[Counselor Theresa Roe's office in Polk High School.]

ROE: Landon Bryce is the kind of student makes my job such a challenge. He was a classic under-achiever. Bright, intelligent, but an under-achiever. Popular with the students, not with the faculty.
FRANK: Why not?
ROE: Oh, he had very strong opinions. Wasn't afraid to express them. The maddening thing, I suppose, is that he was usually right. Principal Delgado tried to ship him to one of the other plants since Landon's freshman year.
FRANK: Plants?
ROE: That's what the administrators call schools.
FRANK: This argument with Landon Bryce over Howard Gordon. That must have upset you.
ROE: Certainly, at the time. I forgot about it right away. Landon was just doing what he thought was right for his friend, just like I was doing what I thought was right.
FRANK: You figured Landon Bryce as a spirited kid?
ROE: Yes, he was.


['Love is Blue' playing.]

[Landon's and Ben's cell. Landon scratches a second mark on the wall.]

LANDON: So, Ben. What were you going to do before they brought you here?
BEN: Don't call me that. That's not my name.
LANDON: Oh, I'm sorry man. I didn't mean to diss you. So what's your real name?
BEN: They took it.
LANDON: Hey, easy. She's gonna give you a new name, when they let us out of here.

[Ben looks upset.]

LANDON: She is gonna let us out of here, right? Am I going to get to see my dad again?
BEN: I've heard she's let people go before. So, I think, yes. I think once you've proven that you will live the rest of your life in the ways that she has taught you – the beauty and the need of being ordinary.

[Seeing how upset Ben is, Landon crawls over to him. Just as he reaches Ben's mattress, a floorboard creaks under his knee.]

LANDON: Hey. What the hell is that?

[He thumps with his hand on the edge of Ben's mattress. He pulls up the mattress and starts knocking on one of the floorboards.]

LANDON: There's a tunnel under here. You can move around beneath the boards, right? That's how you tried to escape.


[Seattle Public Safety Building. Office.]

GIEBELHOUSE: There's nothing unusual on Theresa Roe's background. She was an average student, community college, BA in education. Taught at a bunch of high schools. Became a counselor. She never married. No record. Pretty ordinary person.
WATTS: A bunch of high schools?
FRANK: The Group's database on missing children – let's cross-reference it.

[Watts logs on to the Millennium intranet.]

WATTS: A lot of names tie in with the places she worked, but it's not an inordinate amount of runaways.
FRANK: Well, let's go to the more in-depth report on these kids.
WATTS: There you go. Average grades, no drugs, no trouble. Ordinary kids with signs of promise.
FRANK: Just like Landon Bryce.


['Love is Blue' playing.]

[The door to Landon's cell is checked from outside.]

LANDON: [whispering] Hey, wake up. It's time to go.
BEN: No, I'm not going.
BEN: Don't you think they know about the tunnel? Can you possibly be that stupid?
LANDON: Yeah, they know about it. They haven't filled it in because they think no-one has the nads to use it.
BEN: And they're right.
LANDON: If we don't walk through an open door, they've got us. Hey, what's your real name?
BEN: I told you. I can't remember my name, OK? I can't remember.
LANDON: You'll remember your name at the end of this tunnel. Come on.

[He holds out his hand. Ben grasps it. Landon pulls up the floorboards.]

[Outside. Night. Ben crawls out the other end of the tunnel and helps Landon out. 'Love is Blue' can still be heard faintly.]

LANDON: Love is blue – kiss my hairy ass. The first thing we're gonna do when we get out of here is break every CD that has that song.

[They hear a dog growling. A dark figure in a long coat is standing a few yards away, holding the leash of a dog. It's Lucy Butler.]

LUCY: You will be rewarded with a more comfortable room. Disloyalty is a wonderful trait of the ordinary.

[Landon runs off. Lucy lets the dog loose after him. Ben goes and stands behind Lucy. They listen to the growls of the dog and Landon's cries of pain.]


[Seattle Public Safety Building. Inside, in an interview room, Watts, Theresa Roe and Giebelhouse are sat at different sides of a table. Frank is stood against one of the walls, holding a folder..]

FRANK: McLaren, Damon McLaren. Did you know him when you were at Butler?
ROE: In ten years of teaching and counseling, I've known thousands of students.

[Frank takes a sheet from the folder and gives it to Watts who places it in front of Roe, pointing to the relevant photograph. It seems to be from a Year Book. Underneath it is: "This honors student has spent four years at Butler. Voted Class President and Captain of the Soccer Team this year, Damon will be missed by his friends. FM: Whistler '86. PP: Joe's jokes (If you can call them that) FS: Whatever!"]

ROE: Yes, I remember Damon.
WATTS: What was so special that you recall Damon McLaren?
ROE: I recall that he was missing.
FRANK: What about Andrea Doherty?
WATTS: She was vice-president of the senior class. She was voted most likely to succeed.
ROE: I don't recall her from Butler.
FRANK: No, no, Washington High. Andrea Doherty went missing from her home, January 12th 1990. You were at both schools. And now Landon Bryce at Polk.
ROE: Is there concrete evidence that Landon Bryce has been abducted?

[Frank sits down opposite Roe.]

FRANK: When we talked, you only referred to him in the past tense. Do you remember that? Like he WAS an under-achiever, or he HAD very strong opinions. And I think the other one was: he WAS a very spirited kid.

[Frank slams his hand on the table.]

FRANK: Do you know something we don't?
ROE: Yes, I speak about Landon Bryce in the past tense, because there's a system in place, gentlemen, one that constantly evaluates our youths and our lives with no application of relativity. A 4.0 will succeed, a 2.5 will not. Below 750 on the SATs and certain doors close. A quality of person, sense of humor, heart, these are not on any applications. It's all about your numbers and although, yes, definitely Landon Bryce had it – that intangibility of soul that kept him in school, that could allow him to affect the quality of our lives for the better, that could lead people where they wished to go, Landon Bryce couldn't pass through the numbers. Numbers which tell a young person at 18 they're through. And unless there's some miracle of timing or events and greatness is thrust upon you, your life is over. Next? So, if I'm guilty of anything it's of giving in to this despicable system of numbers.

[Frank looks puzzled.]


[Lucy enters the cell. Landon is lying on his mattress facing the wall. Lucy goes over and pulls him on to his back and stands astride him. She sits down on him and puts her hands around his head, shaking him.]

LUCY: You are nothing! Nothing lies ahead for you. You lie awake in the middle of the night, or you look around at others, and you feel inside, in your heart, that maybe, no, definitely that you are different? that you are special? that you can make a difference? You are nothing. The sooner you realize that mediocrity is all you are, the sooner your love will be blue. I love you so much. I'm working to free you. When you choose to be ordinary, then, then you will be special. Because you will be working to be ordinary unlike most others who just are.

[She stands up and leaves, locking the door. Landon turns to face the wall again.]


[Interview room. Watts has got up and stands against the wall.]

FRANK: Kate Lynn. Did she fall through the numbers?
ROE: I don't know that person.
GIEBELHOUSE: El Cajon Valley High School. Class of 70.
ROE: I never taught at that school.
WATTS: You attended that school.
GIEBELHOUSE: Two years community college. You applied to Stanford and Berkeley but your first year was at Portland State. Next a semester at Washington State. A year off for work. Came back, got your BA in education.
FRANK: You wanted a life in behavioral research, so you could find therapies for abused children. You have an inherent understanding of people. Especially youth. So what happened? Instead of fighting through the numbers, you surrendered. And in answer to that system, you made a deal with the devil.
ROE: There's so much more to it than that.

[Giebelhouse and Frank get to their feet. Giebelhouse goes over to stand next to Roe and taps a document on the table in front of her. It's a police photograph of Lucy Butler.]

GIEBELHOUSE: Where is she?


['Love is Blue' playing.]

[A door is broken down. FBI agents enter. There are sounds of more doors being broken down. Shouts of: "No-one in here", "I got two more here". More shouts, the music is louder, "two more here", "another one". Frank is with the FBI agents, searching. Watts has gone into a sitting room. The furniture there is covered in dust sheets. Frank sees a door with a locked padlock. He kicks the door open. In the cell is Landon.]

FRANK: Landon?

[Landon smiles.]

['Love is Blue' is abruptly stopped. Upstairs, Watts has switched off a tape machine and takes out a CD which he examines and then breaks into pieces.]

[A newspaper clipping with Landon's photograph is pinned on the wall. Franks pulls it down – there are many others also pinned to the wall. Watts pulls off another. There are a number of framed photographs on the wall, some looking very old. Frank takes down a framed black-and-white photograph. It's a photograph of a young Lucy Butler. He turns it over and looks at the newspaper clipping that's taped there: Annie Martin, a senior at Winslow High School in Phoenix Arizona disappeared mysteriously on Friday afternoon after the meeting of the local sewing bee. Annie is a pretty young woman who is very popular amongst her school mates. She is described as a good student with average grades. Annie's disappearance has truly stunned our little community. If anyone has any information regarding this young lady's disappearance, please con... The photograph included in the cutting is a head-and-shoulders shot of Lucy Butler wearing Victorian-style clothing. The date on the newspaper cutting is Monday, September 18th, 1911. Frank and Watts look stunned.]

[Outside the farmhouse. Night. Several police cars and ambulances are there. Other captive youngsters are being led or stretchered away.]

WATTS: Twenty-five victims. Most of whom were afraid to come out of their cells. Still no sign of Lucy Butler.
FRANK: She's not here.
WATTS: So where do we start to look for her.
FRANK: Everywhere.


[Landon's bedroom. His father is sitting on Landon's bed, flipping through a book. Landon appears at the doorway. The two walk to each other and hug.]


[Frank's house. Frank is on the phone.]

FRANK: Hello, Jordan, this is your daddy. Ah, we keep missing each other. I was just calling to, um, I wanted to tell you, I needed to tell you how much I miss you, how much I love you, very much. Bye.

[Frank puts down the phone. In the foreground is a table with Jordan's toys on it.]

[end titles]


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

Also Starring:

Terry O'Quinn (Peter Watts)
Stephen James Lang (Det. Bob Giebelhouse)

Guest Starring:

Christopher Kennedy Masterson (Landon Bryce)
Chad Todhunter (Ben)
Mariangelo Pina (Teresa)
Timothy Webber (Mr. Bryce)
Sarah-Jane Redmond (Lucy Butler)


Scott Heindl (Long-Haired Man)
Michael R. Coleman (Howard Gordon)
Henri Lubatti (Stuart Sheslow)

Music by Mark Snow
Editor: George R Potter
Production Designer: Mark Freeborn
Director of Photography: Robert McLachlan
Executive Story Editor: Michael R Perry
Associate Producer: Julie Herlocker
Associate Producer: Kathy Gilroy-Sereda
Associate Producer: Jon-Michael Preece
Consulting Producer: Chip Johannessen
Consulting Producer: Darin Morgan
Co-Producer: Robert Moresco
Co-Producer: Paul Rabwin
Producer: Thomas J Wright
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Ken Horton
Directed by Thomas J Wright

Executive Producers: James Wong & Glen Morgan
Executive Producer: Chris Carter

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