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201 The Beginning And The End

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201 The Beginning and the End

[MLM-201 (5C01)]

Written by Glen Morgan and James Wong

Directed by Thomas J. Wright

Edited by Chris Willingham, A.C.E.

U.S. Air Date: September 19, 1997

[Transcribed by Libby

Edited by Brian A. Dixon]

[blackness. Fade in slowly, as we listen to Frank Black, to a scene of asteroid debris

in space and a solitary, distant sun.]

FRANK: In number, there is one for every life which ever was, or ever will be.

And like most lives, they wait for a moment, the moment, when it will be sent on its

journey back toward the yellow sun.

[A single asteroid spins, falling away from Saturn's rings.]

FRANK: Approaching the sun brings definitive change.

[An asteroid veers away from the planet, trailing vapor.]

FRANK: It will never again be the same.

[A comet soars over the Earth.]

FRANK: Appearing in our skies, it is believed to be the prophecy of

extraordinary events.

[A religious painting depicts a comet in the sky, and below the Madonna and Child.]

FRANK: The birth of kings.

[The Bayeux tapestry shows an ornate comet.]

FRANK: The death of empires.

[An asteroid moves in space.]

FRANK: After centuries, or millennia, the journey must end.

[An asteroid again, falling towards Saturn's rings.]

FRANK: Perhaps smothered by its own dust, the dark, soulless body continues

eternally through space and time.

[The asteroid breaks up in the planet's gravitational field.]

FRANK: It may disintegrate and crumble into inconsequential rubble.

[Another asteroid passes by, moving towards the sun.]

FRANK: Or it may be lost forever, crashing, burning, into the yellow sun.

[A view of the bright sun fades and we see Frank Black's face. He is staring up into

the night sky.]

FRANK: And as I look into the sky and it looks back on me, I want to know,

which am I? I need to know. Is this the beginning of a journey --

[A twin-tailed comet flies in the starry sky. Frank's bloody hand holds a gun. Frank

stands, still looking skyward. Blood stains his left shoulder.]

FRANK: -- or the end.

[Fade to black]

[Main titles]

[Polaroid fade up]


[ An airport terminal. A reprise of final moments of the first season finale, "Paper

Dove" (MLM-121).]


[Catherine stands with Frank, who is carrying a sleeping Jordan.]

FRANK: I'll get the car and bring it up?

CATHERINE: Want to leave her with me?

FRANK: No, I'll put her in and let her sleep.

[They kiss and Frank goes off with Jordan. Catherine is playing with the origami

paper dove. There's a whistle and Catherine looks up. A man, "The Polaroid Man,"

takes her photo with a Polaroid camera.]

POLAROID MAN: Caught you red-handed... In the act of not smiling.

[Catherine smiles slightly and gives him a suspicious glance.]

POLAROID MAN: But I'm willing to let you keep the evidence, in exchange for a

small donation to the Church of Millennial Consciousness.

CATHERINE: I'm just waiting for my husband to help me with the luggage.

POLAROID MAN: Ah, but you see, our church is not content to wait. We're

actively spreading enlightenment and education about the glorious harmonic

convergence that will dawn at the stroke of midnight in the year 2001.

[He reaches out to hand Catherine the Polaroid he has taken.]

[Frank is driving the jeep in the parking area. A message over the loudspeaker

indicates that the area is for loading and unloading passengers only and all unattended

vehicles will be towed away. The jeep draws up outside the waiting area doors.]

CATHERINE: There are my bags.

[Their bags appear on the luggage conveyor belt.]


[He smiles pleadingly.]

[Frank, in the jeep, checks on Jordan, who is lying down asleep on the back seat.]

[in the airport lounge, Catherine has her handbag open.]

POLAROID MAN: Bless you. We will hold a special place for you at the


[Catherine hands him some money.]


[The Polaroid Man has a small, metal, tack-like object hidden between his fingers. As

he takes the money from Catherine she is pricked. She's stunned and soon becomes

drowsy and weak. As the Polaroid Man takes her under his arm and leads her away

the paper dove slips from her hand and drops onto the floor.]

[Frank enters the airport lounge, which is now almost empty. He sees the paper dove

on the floor, picks it up and looks around. There is no sign of Catherine. He sees their

luggage, still on the conveyor belt.]

FRANK: (quietly) Catherine.

[He crushes the paper dove in his fist, realizing something terrible has happened.]

[Cut to Polaroid Man leading a drugged Catherine past a man and a woman who are

handing out religious leaflets.]

LEAFLET MAN: Would you care for a copy of our literature today?

[The Polaroid Man drops a small, empty bottle as he and Catherine leave by a nearby

door. It lands noisily on the floor. The Leaflet Man looks at his companion and picks

up the bottle.]

LEAFLET MAN: She's drunk.

[The Polaroid Man takes Catherine out of the lounge by an exit-only door.]

[Frank runs through the lounge calling Catherine's name. A woman comes out of the

women's restroom.]

FRANK: Is my wife in there? Tall, brown hair.

WOMAN: Lo siento. No hablo ingles.

[she walks off. Frank throws open the restroom door and calls Catherine's name.

There's no-one there.]

[The Polaroid Man and Catherine are walking along a corridor. Catherine is barely


[Frank is still in the lounge, calling for Catherine. He sees something on the floor and

picks it up. It's the Polaroid photograph of Catherine.]

[Frank picks up a nearby courtesy phone.]

FRANK: Airport police.

[The response is a recorded voice.]

VOICE: You have reached the Seattle Tacoma airport information line. For

flight information --

[Frank suddenly sees his jeep being towed away through the window. He drops the

phone receiver to the floor and runs outside, whistling loudly to the tow truck driver.]

FRANK: Hey! Hey! Stop! Stop!

[The truck stops as Frank slams a hand down on its hood.]

FRANK: My daughter's in the back.

[Jordan is at the jeep's window, frightened.]

JORDAN: Daddy!

FRANK: (to the airport police officer) What the hell is wrong with you?

[He unlocks the door and picks Jordan up. The airport officer looks apologetic and


FRANK: I have reason to believe that my wife has been taken. alert Seattle PD,

Detective Giebelhouse. We have a 10-18, probable abduction. Do it!

[The car driven by the Polaroid Man is moving through the airport parking garage.

There is no sign of Catherine in the car with him. He drives over a traffic cone with a

sign -- "Section Closed".]

[Cut to the Polaroid photograph of Catherine.]

LEAFLET MAN: I thought she was drunk.

[He's talking to Frank, who is holding Jordan.]

LEAFLET MAN: She was being held by a man, smaller than her, dark hair,

goatee, sideburns.

[The Polaroid Man's car draws up at the airport parking garage's pay booth, the

second car in line. In the booth, the attendant receives a radio message.]

VOICE ON RADIO: Attention, parking attendants. Code 4. Do not allow passage of

a male, Caucasian, late twenties, approximately five foot six, goatee, sideburns,

sunglasses --

[The Polaroid Man hears this and purposefully drops the car park ticket outside of the

car. He opens the door and, while leaning down, he removes his dark glasses.]

VOICE ON RADIO: Also possibly accompanied by an incapacitated female,

Caucasian, mid-thirties --

[The attendant is looking around.]

VOICE ON RADIO: -- brown hair. Consider suspect armed and dangerous.

[The Polaroid Man peels off his moustache and goatee, revealing a clean-shaven


VOICE ON RADIO: alert supervisor upon contact.

[The Polaroid Man pushes the fake moustache and beard under the car and picks up

the ticket, closing his car door. He drives his car forward and puts the ticket in the

machine. He turns on his radio and the music of the Talking Heads song "Life During

Wartime" begins to play loudly. The attendant lets him through.]

[in the airport lounge, Frank puts Jordan on a seat but she immediately jumps up, into

his arms again.]

JORDAN: Daddy, where's Mommy? Let's go home.

[Frank gets a vision -- dark ground, moving fast, a broad yellow-red line speeding


FRANK: (to airport officer) He's out. We have to establish a roadblock on the

509. If he gets to the I-5, he's gone.

[Night. The Polaroid Man's car is driving along the road, radio continuing to blare the

Talking Heads. He passes a sign -- "North 509." The Polaroid Man sees police cars,

lights and sirens, in his side mirror. They pass him and speed off ahead.]

{Music: "Lived in a brownstone, lived in the ghetto, I've lived all over this town.

This ain't no party! This ain't no disco! This ain't no foolin' around. No time for

dancing, or lovey dovey. I ain't got time for that now. Transmit the message, to the


[in the airport lounge, Jordan is becoming increasingly more upset and Frank's

worries are almost getting the better of him.]

JORDAN: Daddy, I want to go home. Daddy, I want to go home now!

FRANK: Well, we'll see, honey.

JORDAN: No, I want to go home now!

[Frank gives Jordan a quick shake.]

FRANK: Jordan!

[Jordan recoils and almost starts to cry.]

POLICE WOMAN: I'll watch her, Mr. Black.

[but Frank cradles Jordan, stands and walks off.]

FRANK: I'm sorry, baby.

[The Polaroid Man's car draws up at the police highway roadblock, joining a long line

of cars that is bordered by a row of burning red police flares.]

{Music: "I work in the nighttime. I might not ever get home. This ain't no party!

This ain't no disco!"}

[Airport lounge. Frank is holding Jordan, listening to conversations around. Woman's

voice: "He's definitely off the airport grounds." Other voices overlapping: "Reports of

a blue Chevy truck." "Daddy I want to go home now." He experiences another vision,

as before -- speeding over black road with broad yellow-red line.]

FRANK: (to himself) I have to go to the roadblock.

[Peter Watts, Carol Finley, and two other Millennium Group members suddenly enter

the airport lounge, moving quickly.]

FINLEY: I'll take her home, Frank.

FRANK: (to Jordan) It's okay.

[He kisses her and puts her down.]

FRANK: Peter, how did you know?

WATTS: Let's go.

[Peter Watts drives. Approaching the roadblock, Frank receives another vision --

Catherine's face pressed up against a wide metal mesh, duct tape over her mouth.]

FRANK: Stop here.

[Peter draws over onto the grass. Frank gets out and quickly starts to check the cars

lined up at the police roadblock, staring inside windows. The music from the Polaroid

Man's radio can be heard from somewhere in the crowd of vehicles.]

{Music: "Somebody see you up there. I got some groceries, some peanut butter, to

last a couple of days. But I ain't got no speakers, ain't got no headphones, ain't got no

records to play..."}

[The Polaroid Man glances nervously in his side mirror.]

{Music: "Why stay in college? Why go to night school? Gonna be different this time.

Can't write a letter, can't send a postcard, I can't write nothing at all."}

[Frank stops searching cars, despairing when he sees the yellow line painted down the

middle of the highway. The yellow line has become a red color in the rear brake

lights of the cars, with some darker spots. It's the same line as seen in his vision.]

FRANK: Oh, Catherine.

{Music: "This ain't no party. This ain't no disco. This ain't no foolin' around. I'd like

to kiss you. I'd love you hold you. I ain't got no time for that now..."}

[The Polaroid Man pulls up at the front of the roadblock. An officer tells him to pull

the car over.]

{Music: "Trouble in transit. Got through the roadblock. We blended in with the


POLAROID MAN: Evenin', officer.

COP: License?

[Frank has another vision of Catherine behind the metal mesh. He sees a Ford truck

with a covered pick-up bed nearby.]

COP: (to Polaroid Man) Would you pop this hood, please?

[Frank grasps the handle at the back of the Ford truck. He pulls it up to reveal cages

but they contain dogs which then begin to bark at him.]

[The police are searching the back of the Polaroid Man's truck, pulling up the rear

cover. It is completely empty.]

COP: (to Polaroid Man) Alright, move along.

[Frank is approaching the front of the roadblock but is still checking cars as he goes.

As the Polaroid Man's truck pulls away, the camera pans down and we see there is a

metal cage slung underneath of the vehicle. It contains a figure -- Catherine. The truck

goes off into the distance as Frank stands there, looking around him.]

[Cut to a view of Catherine, her mouth bound by duct tape. The road passes quickly

beneath her.]

[Fade from white to an exterior of the yellow house at night. Police cars are parked

there. There's the sound of police radio traffic. Two police officers enter the house.

We see the Black family luggage. Frank picks up one of the bags. His breathing

shows he's distressed, trying to keep control. Peter enters.]

WATTS: Canadian border checkpoints have been notified. APBs down the coast

to San Diego, east to Billings. The Bureau --

FRANK: Pete. I've known this dangerous level of anger. I mean, with

everything. I've never felt so helpless.

[He turns to face Peter.]

WATTS: That's why the Millennium Group is here, Frank. (pause) Why it

always has been.

FINLEY: Frank.

[Frank looks up the stairs.]

FINLEY: Jordan wants you.

[Frank goes into Jordan's bedroom, unbuttons his coat, and sits on the bed.]

FRANK: Sweetheart. Do you remember when we talked about being sorry?

[Jordan nods.]

FRANK: I'm very sorry for yelling at you at the airport. I was wrong. I love you

very much. There's something else that we need to talk about.

JORDAN: Hey, Dad. There's angels over there.

[Frank looks over to the corner of Jordan's bedroom. There are some shafts of

moonlight coming through the window from outside. Frank turns back to Jordan and

lets out a heavy sigh.]

FRANK: 'night.

[The night sky. The two-tailed comet is set against the stars. The Polaroid Man is

watching it, standing next to his car in a field. A bright light suddenly illuminates him

and he puts up one hand to shield his eyes. They are the headlights of an approaching

police car. The car stops and an officer gets out.]

POLAROID MAN: Hey, turn 'em off, man! Turn 'em off! Your headlights! It'll take

my eyes forever to re-adjust.

COP: What's so important you need to see out here in the middle of


POLAROID MAN: The comet, man. Look.

[The cop looks up at the sky.]

POLAROID MAN: Haven't you heard about it?

[The cop turns off his headlights, closes the door and approaches.]

COP: Brother, if the Mariners didn't win that day I don't even bother with the


[The Polaroid Man laughs.]

POLAROID MAN: Oh, man. You should hear about this. This is important.

COP: Why's that?

POLAROID MAN: Oh, its scientific name is P1997-Vanson-West. We discovered

it about six months ago, but it's always been there. Always. [The cop is shining a

flashlight over the car, its wheels, etc.] Its orbit is nearly a thousand years old. The

Millennium Comet. Last couple of times around it could only be seen near equatorial

locations so all the great civilizations missed it, but it was there. It was there. [The cop

lifts up a corner of the cover on the back of the truck.] The Mayans saw it, just before

a plague wiped out half their civilization. The Sailendra Kingdom saw it just before

Tangkuban Perahu erupted.

COP: Sounds to me like you might be making some of this up as you go


POLAROID MAN: Make it up? No, man, no. It's right there. Each night, appearing

in Gemini, the twins. Look, look, look. You can see it has two tails. Just in time for

the year 2000. That's weird, huh?

COP: You think it's some kind of omen, do you?

POLAROID MAN: Yeah, I know it is. You see, we're being told that we have a

choice in the millennial outcome. One path, or the other.

COP: Well, lookit! Says the Sea Hawks are gonna win the AFC West.

[The Polaroid Man laughs.]

POLAROID MAN: That's funny.

COP: Now, sir. What is it you're really doing out here?

POLAROID MAN: I'm just taking some pictures. That's it.

COP: (indicating the Polaroid camera) Well, a smart fella like you ought to

know nothing's gonna come out taking pictures of a comet with that thing.

POLAROID MAN: Thanks for the pointer, officer.

[The officer walks back to his car.]

POLAROID MAN: (quietly) I smell bacon, I smell pork, run little piggy, I got a


[The Polaroid Man takes a Polaroid photograph of the cop in his car.]

[Cut to the Polaroid of Catherine in an evidence bag on a desk.]

FRANK: I guess that deep down I knew this hour would come. Thought I did

everything I could to stop this from happening. What did I overlook? What could I

have done? And now, what must I sacrifice to have her back safe?

[Peter and Frank are sitting at a table in Frank's kitchen.]

WATTS: Sacrifice?

FRANK: Yeah.

[Watts takes a sip of coffee.]

WATTS: Do you know why I have three daughters?

[Frank is surprised by the question. Watts gives a slight smile.]


WATTS: When we got married I told Barbara two kids -- tops. So we had our

two -- girls. And I love Taylor and Erin more than I could ever say. But I wanted a

boy, for reasons that I don't have to explain to another guy. So we gave it a whirl. Had


[They both smile.]

WATTS: Well, I started to think, and then believe, that Fate or God or whatever

had something against me. So, we thought we'd give it one more try. This was back in

'85, when I was working with the Bureau, Syracuse. We got a call one day, out in

Solvay. Some kids found a cooler -- like you'd take camping or on a picnic -- floating

in Onandaga Lake. Inside, a body of four month old boy. No head, no arms. Just so

whoever could fit the body inside. A tiny, little, harmless boy. And here I was. I'd

have given anything to be the father of a son. Anything. So, somehow, I came to

believe that if I could find the monster, the evil that did this, that I would be rewarded

with a son. You can imagine how tough it was with no possible description. The body

was severely decomposed in the polluted water, no witnesses. But I went at it every

single day. Any lead, any trace, year after year. In the meantime, I wouldn't let

Barbara get pregnant, and I couldn't tell her why because this was my secret pact with

God. But she was getting older and time was going by for both of us to have this last

child. And I asked myself, what did I do wrong? What did I overlook? And it got to

the point where I said that I would sacrifice having a son if I could find who did this --

to my boy. So, that's why I have three daughters.

FRANK: And the pact you made?

WATTS: I'm still keeping up my end. I can't speak for who I made it with. But

I'm starting to wonder if you can sacrifice one thing to get another. I know there's a

price to be paid.

[Frank sighs.]

FRANK: It's getting late. Maybe you should check in on your girls.

[Peter gets up, pats Frank on the back and leaves. Frank closes his eyes and sighs.]

[Frank carries the luggage upstairs. He starts to pull some clothing out of one of the

bags before pausing in a moment of grief.]

[Cut to a darkened basement. The Polaroid Man is tying Catherine's hands to a beam

above her head. He traces the outline of Catherine's chest, keeping his hands just

inches away from her breasts.]

POLAROID MAN: Hoo-hah. I'd say that was a bit more exciting than a ride on the

Matterhorn. And you didn't even have to wait in line. But now is the wait. Yeah, now

we wait.

[There are polaroids pinned to the walls and covering the top of a small table. He

picks up his Polaroid camera.]

CATHERINE: For what?

[The camera flashes as he takes a photograph.]

POLAROID MAN: For what? Oh, tut, tut, tut. Now --

[He pins the still developing Polaroid to the wall, within a painted ouroboros.]


[The picture slowly develops, showing an image of a bound and helpless Catherine.]

[Fade to black.]

[Polaroid fade up.]

[The yellow house. Early morning.]

[Frank enters Jordan's room, where she is still asleep. He suddenly turns as he hears

an unexpected noise from downstairs.]

[in the basement there is a man at Frank's computer, typing. Frank approaches from

behind and then lunges at him. Frank gets the stranger into a headlock before seeing

that there's a second man present as well.]

DICKY BIRD: Ooh, yeah! Get him, Mr. Sunshine!

ROEDECKER: Take your stinking paws off of me, you damn dirty ape.

FRANK: You know this guy, Dicky Bird?

[Peter's voice from upstairs: Frank! Frank!]

DICKY BIRD: I've never seen him before, Monsieur Noir.

WATTS: Frank!

[Peter runs down the basement stairs.]

FRANK: Nice surprise.

WATTS: I sent these guys down here. You know D.B. This is Brian Roedecker,

systems specialist working for the group now.

ROEDECKER: (hoarsely) You fractured my hyoid.

FRANK: Anything new?

WATTS: No. But I had these guys download some information and add a

security system to your computer. That might give us a direction.

FRANK: Security system?

ROEDECKER: We've installed a V.A.S. 16/24A to your desktop. From this

point on, files originating from and designated compartmentalized by the Millennium

Group can only be opened by an included phrase from your unique vocal signature.

FRANK: This a new policy?

WATTS: The Group feels you are ready to receive more sensitive material.

ROEDECKER: This is how it works. When a file is designated

compartmentalized, double-click this icon, speak clearly into the microphone and say,

"Soylent Green is people."

WATTS: Couldn't he just say his name?

ROEDECKER: He could. But I was under the impression that security was the

priority. "Soylent Green is people" is not only an obscure reference to the last great

American film, and therefore unlikely to be cracked by a hacker attempting random

code phrases, but the six syllable pattern encompasses each frequency and vocal

intonation unique to Mr. Black, therefore rendering replication nearly impossible and

thus security foolproof.

[Frank sits at the computer and speaks into the microphone.]

FRANK: Soylent Green is people.

[Dicky Bird and Roedecker giggle.]

WATTS: Guys!

[The two of them leave, still giggling.]

[The screen shows: "Welcome Frank. There are 833 days remaining."]

WATTS: Better, I guess, that they're working for our side than the other.

[Frank's computer shows a color photograph of the Polaroid Man. The image

accompanies a personnel record from the United States Army listing data, background

information, and presenting fingerprints.]

FRANK: That's him. His name, his alias, his history, everything. You've had this

for a while. You gave it to the Seattle Police and to the Bureau. Why not to me?

[Frank slams his hand on the desk.] Why not to me, Peter?

WATTS: Frank, you're a good man, and you're an exceptional candidate, but the

Millennium Group is involved in an unprecedented arena and we're gonna make

mistakes for which we will not apologize. However, the Group feels you should know

that his interest in you is because of our interest in you. That's all I can tell you right

now. But we'll be out there pulling out the stops to find him. You have this

information now. Set aside your anger, forget your helplessness and point us in the

right direction by getting deeper than you ever have before into a man's head. (pause)

But not his soul. (pause) For your sake, not his soul.

[Peter leaves. Frank turns back to focus on the display of the Polaroid Man's


POLAROID MAN: (V.O.) He's working very hard to find you. Me. Us.

[Fade to the Polaroid Man's basement. The Polaroid Man stands behind Catherine's

hanging form. She looks exhausted, covered in sweat.]

POLAROID MAN: You are so lucky, Cathy, to have someone who loves you. I

think, no, I know Frank would die for you. You think? Cathy? Would you die for


[The Polaroid Man is now holding up a large knife. He's standing in front of

Catherine, then moving around her, very close, menacing.]

POLAROID MAN: Would you, could you, in a house? Would you, could you,

with a mouse? Would you, could you, die for God? If I told you, Cathy, that all that

jazz you've been hearing so much about -- the throne of God, a sea of glass, the seven

veils, the seven seals, the seven plagues, the slain lamb with seven eyes and seven

thorns. Fear God and give glory to him for the hour of his kingdom has come. And the

beast of the sea and the beast of the land cast into a lake of fire. And then, ah, to live

and reign with Christ for a thousand years of peace and love. If I told you, Cathy, that

I know that Frank will know it is all true, would you die, be beheaded, for your

witness to the word of -- [He throws the knife to the floor.] -- God? So that your little

daughter, your beautiful little daughter [He switches off the basement light.] would

you die for God then? [He touches her face.] Would you, could you -- [He pushes her

face to her left and shines a flashlight onto a shape, almost completely covered by a

blanket, showing only a mop of brown curly hair. Catherine gasps in grief. The

Polaroid Man goes over and touches the hair.] Because I won't. No, they asked me to

but I won't. [Catherine is crying.] They're gonna ask Frank and if he's willing to give

his life for you, I know he's willing to give his life for God. [He's now back in front of

Catherine, shining his flashlight in her face.] Don't you think, Cathy? But I'm not

gonna let him, okay? Because I am the end -- [He puts his hand behind her back. She

cries out again and again.] -- the question that ends here. I am the first and I am the

last, I am the alpha and I am the omega, I am the beginning and I am the end. And

soon he will come to understand this as he works to get inside me. With me his gift

his useless.

[in his own basement, Frank is going through the detailed information on his

computer. He's looking at family photographs, images from the Polaroid Man's

childhood. He reviews applications made to the University of California-Berkley,

Georgetown University, and financial aid applications. He examines the Polaroid

Man's United States Army file once more and reads over the official police report

filed on Catherine's abduction.]

POLAROID MAN: [V.O.] I don't fit into the serial killer profile he's come to

understand. Now, I am so far beyond. I wasn't from a broken home; he'll find no

homicidal triad in my childhood, no setting of fires, no bed wetting, no cruelty to

animals. I've had a formal education, responsibility, money. Until recently, not a

loner. He'll work on the principle that behavior reflects personality. He'll evaluate the

criminal act itself, then the specifics of the crime scene, analyze the victim -- which,

of course, he knows well -- before attempting the development of a profile with

critical offender characteristics. This will lead him nowhere, absolutely nowhere,

because until now I've committed no crime. This is something he's never experienced

before. Frustrated, agonized, angry even, he'll turn to those torturous photographs I'm

so fond of mailing.

[Frank reaches out for an immense pile of Polaroid photographs that are lying atop his

desk next to the computer, the photographs that the Polaroid Man has been

periodically sending for months. Each image is a candid portrait of Catherine and

Jordan taken in public.]

POLAROID MAN: [V.O.] He'll consider complex theories regarding grandiose

subtypes of delusional disorder or even photographic paraphilia, blah, blah, blah.

Ultimately he will sense none of it applies. Then, once his search turns away from me

and you, his gift will point him in the right direction.

[Frank begins to experience flashing visions -- visions of the yellow house, then

another house with the number 108].

POLAROID MAN: [V.O.] He'll understand this is all about him. The profile will

become about him, who he is, who he'll be, who he's been.

[Frank pulls open a filing cabinet drawer labeled "PERSONAL" and searches through

the files. He pulls out one file regarding a house, 108 Mariner Lane, Seattle.]

[Day. Frank is in his car outside of the house on Mariner Lane.]

FRANK: [V.O.] It was the house Catherine and I lived in before moving to work

with the Minneapolis Bureau. County records show the house was purchased two

weeks after we returned to the area. The current owners' whereabouts are unknown.

Although observing the location and witnessing no activity or evidence applicable to a

search warrant, I believe they are there.

[A team of F.B.I. agents and police officers breaks down the front door.]

VOICES: Federal Agents! We are entering in exigent circumstances under

suspicion of mortal danger to Catherine Black. Go! Go! Go! Move! Move! Come on,

let's move!

[Agent voices: "Room clear!", "Upstairs clear!", etc. Frank watches Peter talk to a

senior officer who is shaking his head.]

[The search having found nothing, the police have left. Frank remains, alone. He

begins to search frantically throughout the vacant house, running his fingers over

window frames, pulling on drapes, looking over walls, over shelves, pulling open

drawers and cabinets and running his hands through them. As night falls he continues

the search with a flashlight.]

POLAROID MAN: [V.O.] Long after the others have given up and gone home to

their yellow houses he'll stay because he senses, because he knows something is there.

And he'll find it. He'll find the answer. And he'll find the question.

[in an empty basement cabinet, shining his flashlight inside, Frank discovers a single

Polaroid. The image depicts a house. He picks it up and looks at it in the beam of his

flashlight. He turns it over. On the back of it is written "The beginning and the end".]

[Fade from white.]

[The photo of the house is propped up on Frank's keyboard. He's made some notes on

a pad and a drawing of a house. The monitor shows a detailed topographical map.

Frank is zooming in on various areas of the map, finally focusing on an isolated

house. He picks up his phone and pushes redial.]

WATTS: Watts.

FRANK: Found him. Positive.

WATTS: Frank, after today the police will be reluctant and I'd need time to get

some people together. Frank? You've waited this long, let's do it right. Can't you wait

a few hours longer?

[Frank hangs up. He goes to his filing cabinet, pulls open one of the drawers, and

retrieves a gun from the back. The phone is ringing. He ignores it as he loads the


[Peter switches off his cell phone. Sitting across from him at a desk is another, older


OTHER MAN: He's only doing what we should have done by now. Help him.

[Peter gets up and goes off.]

[Frank Black is running toward a house surrounded by trees at night, pausing to

occasionally hide behind a tree trunk. He runs up to the front steps and points his gun

at the open front door. Frank goes up the steps and eases open the screen door. He

hesitantly enters the house. The walls are covered with Polaroid photographs. There's

a trail of Polaroids leading across the floor. He picks one up -- it's a close-up of

Catherine's eyes. He moves ahead and stops to slide his hand under a closed door,

checking carefully for booby traps, before gently turning the door handle. The knob

squeaks and the door opens. It's a door to a basement. Frank edges down the stairs,

into the darkness, gun ready. Again, the walls are covered with Polaroids. There's

suddenly a blinding flash. Frank fires, repeatedly. Catherine screams.]

FRANK: Catherine? Is he down here?


FRANK: What?

CATHERINE: Jordan is down here.

[Frank switches on his flashlight.]


[Frank goes over to the blanket.]

CATHERINE: She's dead.

[Frank picks up the object -- it's a dummy's head.]

FRANK: She's home. She's safe.

[An extended yell comes from the depths of the basement. As Catherine shouts a

warning, the Polaroid Man lunges forward at Frank with a knife in his hand. The

blade stabs into Frank's left shoulder. The two grapple with each other until the

Polaroid Man has Frank pinned to the floor. The gun falls from Frank's hand.]

POLAROID MAN: You think you know me, Frank, But you don't them.

[Frank gets in a blow. The Polaroid camera, lying to one side on the basement floor,

is triggered. Catherine watches in horror as Frank turns the knife on the Polaroid Man

and drives it into his stomach. Holding the knife tightly, Frank uses it to turn Polaroid

Man and push him against the wall. He withdraws the knife only to plunge it into the

Polaroid Man again and again. Each time Frank stabs him there is a series of flashes

from the camera. There are flashes seen of the series of Polaroids sent to Frank,

images of Catherine and Jordan that were taken while they were stalked. Frank stabs

again and again, looking up at the countless photographs lining the basement walls.

Catherine turns away, unable to bear the sight. The Polaroid Man falls to the ground

and Frank finally drops the bloodied knife to the floor.]

[Catherine and Frank slowly exit the front door of the house, separately. Frank looks

up into the night sky and stares for some time at the two-tailed comet -- as in the

opening scene of the episode.]

[Police cars line up outside the house. Officers are now all over the property, in and

out of the house. Voices are heard from the police radios.]

[Another car draws up and Cop #1 gets out and calls over to another cop.]

COP#1: Mike? You got those statements?

COP#2: Here you go, sir.

[Cop #2 goes over to Cop #1 and hands over some papers. In the back of one police

car are Frank and Catherine, sitting apart from one another. Frank has had his

shoulder bandaged and Catherine is swathed in a blanket. Another man, wearing a

plain suit, comes over and opens the back door on Catherine's side.]

MAN: Mr. and Mrs. Black? What happened here tonight is that Mr. Black,

with undeniable evidence, fearing for the life of his abducted wife and the security of

his family, was placed in grave jeopardy and forcibly defended his own life, thus

subsequently eliminating any further concern for his family's wellbeing.

[Frank has turned his blood spattered face away from the man. Catherine looks at

Frank, then back at the man.]

CATHERINE: Yes, sir.

[The man leaves and gets back into the car he arrived in. Frank leans forward to see

who else is in the car -- Peter Watts.]

[The yellow house at dawn. Catherine walks quietly into Jordan's bedroom. Jordan

wakes up.]

JORDAN: Mommy!

[Catherine sits on the bed while Frank watches from the doorway.]

JORDAN: I missed you. I'm so glad you're back.

[Catherine picks her up and hugs her.]

JORDAN: Mom? There were angels over there but now they're gone.

[Catherine hugs her again and looks over to Frank.]

[in his bathroom Frank is washing his hands in the basin, filling the water with the

blood. After a moment he picks up his toothbrush and then other belongings, putting

them into a small bag. In the bedroom, Catherine is putting some clothes in a bag.

Frank enters.]

CATHERINE: I don't know yet (pause) if it was wrong, what you did.

[Frank tosses the small bag onto the bed.]

FRANK: Neither do I.

CATHERINE: And I'm not ungrateful, Frank, because I wanted him dead.

[Frank nods. Catherine continues packing the bag.]

CATHERINE: But I feel like you lost something. Sacrificed -- something, for

the safety of Jordan and me. And I need time. You need time, and distance, to know if

we can ever get it back again.

[Frank leaves the house by the side door, throwing his bag into his jeep. He gets in

with some difficulty because of his shoulder wound. Back in the bedroom, Catherine

hears the car start. Frank drives onto the road. He stops to look at the yellow house.

The sun has risen and daylight is becoming stronger. After a pause Frank turns his

head and then drives away.]

[Fade to black.]

[The credit fades in from black... ]


Lance Henriksen (Frank Black)

Megan Gallagher (Catherine Black)

Also Starring

Terry O'Quinn (Peter Watts)

Brittany Tiplady (Jordan Black)

Guest Starring

Doug Hutchison (The Polaroid Man)

Allan Zinyk (Roedecker)


Judith Maxie (Finley)

Drew Reichelt (Dicky Bird Perkins)

Mitchell Kosterman (Sheriff)

Alan Robertson (Elderly Man)

Norman Armour (Suited Man)


[Francis Boyle] (Airport Security)

[John Dadey] (State Trooper)

[Patricia Mayen-Salazar] (Lady from washroom)

[Jake T. Roberts] (Police Officer)

[Klodyne Rodney] (Airport Parking Attendant)

[Marek Wiedman] (FBI Special Agent)

Music by Mark Snow

Editor: Chris Willingham, A.C.E.

Production Designer: Mark Freeborn

Director of Photography: Robert McLachlan

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 Glen Morgan and James Wong

Directed by Thomas J. Wright

Executive Producers: James Wong and Glen Morgan

Executive Producer: Chris Carter

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