# Millennium (TV series)

Millennium (1996–1999) is a grim, suspenseful American television series, produced by Chris Carter (creator of The X-Files), and set during the years leading up to the dawn of the new millennium. The series follows Frank Black, a freelance forensic profiler and former FBI agent with a unique ability to see the world through the eyes of serial killers and murderers.

## Season 1
### Pilot [1.01]

    Calamity: Tell me what you want.
    The Frenchman: I want to see you dance on the blood-dimmed tide. The ceremony of innocence is drowned. This is the second death. The abominable and the fornicators - this is the second death. You'll have your part in the lake - the great plague - the maritime city. You'll have your part in the lake which burns with fire and brimstone.
    Frank: The killer is confused about his sexuality. He feels guilt, quite possibly from his mother. So he goes to peep shows to try to feel something toward women but all he feels is anger - anger that fuels his psychosis, that distorts and twists his view of reality.
    Geibelhouse: Twists it to fit some screwy French poetry?
    Frank: The killer doesn't see the world like everyone else.
    Bletcher: How does he see it?
    Frank: Differently.
    Geibelhouse: Wait a second. You say this guy is angry at women, that he cruises boys but then he kills this John Doe we found burned in the forest. How does that work?
    Frank: He's very confused.
    Geibelhouse: Undoubtedly.
    Frank: His way of dealing with it is by fulfilling a prophecy.
    Geibelhouse: I don't buy it.
    Kamm: Uh, it's a good story but I've got to agree. Evidence just doesn't support it.
    Frank: I was approached by a group of men who helped me understand the nature of my facility... my gift.
    Bletcher: This Millennium Group. They really believe all that stuff? Nostradamus and Revelations? The destruction of the world?
    Frank: They believe we can't just sit back and hope for a happy ending.
    Bletcher: Tell me how you know. Why are you so sure? You see it, or something.
    Frank: It's complicated, Bletch.
    Bletcher: What do you see?
    Frank: I see what the killer sees.
    Bletcher: What, like a psychic?
    Frank: No. I put myself in his head. I become the thing we fear the most.
    Bletcher: How?
    Frank: I become capability. I become the horror--what we know we can become only in our heart of darkness. It's my gift. It's my curse. It's why I retired.
    Catherine: I can handle imposition, Frank. What I can't handle is secrecy.
    Frank: I don't keep secrets, Catherine. I'll tell you anything you want.
    Catherine: You think you're protecting me but you make it worse, Frank. You can't shut the world out for me. You can't ask me to pretend that I don't know what you do.
    Frank: Everyone pretends. We all make believe. These men I help catch... make us.
    Catherine: We're raising a daughter, Frank. The real world starts to seep in. You can't stop it.

### Gehenna [1.02]

    Frank: It seems that the old biblical concept of the devil's influence has lost any currency.
    Catherine: I just think the language has changed. I think science and psychology have given us a clearer idea of why people commit evil acts. I see it everyday, abused kids become abusive adults.
    Frank: So the true source of evil is us.
    Catherine: You mean, are we all capable of it?
    Frank: Or is there something out there - a force or a presence - waiting until it can create another murder, another rape, another holocaust.
    Catherine: I think it's something that everyone who looks deeply at life wonders.
    Frank: What would you tell a child? What would I tell Jordan?
    Catherine: Maybe you should just tell her good-night.
    Mike: What you described in there last night... the face of the beast...
    Frank: I saw it, the day I arrived.
    Mike: I've seen the face of evil, Frank. I've looked into its eyes, seen it staring back at me. The face has always been a man's face... a human face. I've always believed that evil is born in a cold heart and a weak mind.
    Frank: I have too.
    Catherine: Frank went back to work because he had to. It's who he is. Sometimes I think of Frank as the catcher in the rye... standing at the edge of the cliff trying to save the world... but he can't change anything. All he can do is catch these horrible men before they kill again. And that's why I can never let him think that Jordan and I aren't perfectly safe in this perfect house and perfect world that he's tried to give us... Because I know, if he ever thought differently... next time he'd never be able to leave.
    Mike: There is a deliberate error in the Great Pyramid in Giza... an architectural anomaly that some prophets have cited as an error in our calculation of the true calendar year. Some believe it sets the date of the apocalypse in 1998.
    Penseyres: Plan your investment strategy accordingly.
    Mike: He sends the photos to you, Frank. The envelope has your name on it. What's the object of terrorism?
    Frank: Terror.
    Mike: That's all he wants at this point.
    Frank: Then he's a success...

### Dead Letters [1.03]

    Frank: He needed one lens replaced -- the left lens?
    Janice: Well, that I don't remember. But what I do remember is that he was getting all weirded out.
    James: Weirded how?
    Janice: I guess his glasses got a little lost in the shuffle, so I asked him for a service slip number and he gets all sweaty, and his eyes got real weird. So I went back, I asked the technicians, maybe they had seen them. And I guess they were in the tray right behind me but all the trays are marked with the customer's name on it. And he starts going: 'I have a name! I have a name!'
    James: I thought it was the guy. We all did.
    Frank: What if it was, James? Is bouncing the subject's head off the hood of the car going to do anything to change all the other murders that will occur today?
    James: Come on, Frank! Some guy cuts your wife and your daughter into eight pieces and you just stand there and you read him his rights?!
    Frank: He hasn't killed our wives or our families and he's not going to. If you make every one of these personal, you'll go insane and that's from having been there, James.
    James: I get so far into the heads of the killers and the victims.
    Frank: You haven't got there at all.
    James: Don't you tell me where I am!
    Frank: You put them in your head.
    James: I keep reliving... what it's like to be cut in half... or four... or eight.
    Frank: This isn't about you, James! The whole thing... what's going on out here... it's about us! Me, you... the killer and the victim.
    James: I can't help but take this personally. Another person is going to die, horribly. Because I s-... we screwed up. I-... we did all this for nothing.
    Frank: No, we didn't. We handed out 30 pins from the hospital charity to be placed here. There's 31. We wanted one taken, but one was left. He was here.
    James: I don't know, Catherine. Maybe it's because T.C.'s been taken out of my everyday life. Or... he's two now and he's becoming a person, you know? But I can't... these murderers... before they were a... fascinating, psychological, societal puzzle. Most I could even feel sympathy for them because of their horrible lives. But now... when I walk into a crime scene, all I see is my little boy's face superimposed on the victim. And... and these... killers can't be simply cases or psychological anomalies anymore. They're just... monsters. Just monsters.
    Catherine: They play well together.
    James: Yeah. It's great to watch them, huh? They have no idea. Things we see... things we know are out there. I hope I'm not screwing him up... I never ever dreamed at that perfect moment that... my time with him would be regulated by petitions, attorney retainers, orders of the court... that mother, father and son would become nothing more than a case number... that as a father, I risk adding nothing to his life. I could become nothing but... face covered in gray tape.
    Frank: When I read Dostoevsky there was a passage, something like: 'There's nothing more sad than a life that ends and no one knows or cares.' Hair today, gone tomorrow. The subject is angry that his life will go unnoticed... that he will have left nothing. The hatred of himself is directed toward the world which has held him back because it objectified him... reduced him, reduced us all to universal bar codes. We are animals in a caged shelter, controlled by dog catchers. The gray tape makes the victims look like how he feels -- faceless -- a dead letter lost at the post office. He's killed before... when he was young... most likely a female prostitute, after an early setback... a girlfriend, a job. He sought out a woman that wouldn't turn him away. The solicitation increased his feelings of nothingness and so he killed her before sex. My guess? He was never caught. He got away with it. Subject has felt guilt ever since, angered at a world that should have punished him but didn't. The murder, however, was the most significant event in his life. He's returned to this place, to the event. He wants nothing more than to be stopped. But he will do everything in his control to remain significant.
    Frank: What's the matter, honey?
    Jordan: I had a bad dream.
    Frank: Oh... come on... Everybody has bad dreams.
    Jordan: Why?

### The Judge [1.04]

    Judge: Having found sufficient evidence the accused removed, or caused to be removed, lighting from his apartment building's common stairwell. This action resulted in a female client, aged 62, sustaining fatal injuries as a result of a fall. It is now my duty to pronounce sentence. You are to apprehend the condemned as instructed and having transported him to the place designated, to amputate his right leg below the knee.
    Bardale: I got it written down from earlier, Judge. I like the foot. I mean it's like the son of a bitch, he kicked that old lady down the stairs, practically.
    Judge: The prisoner shall be conscious prior to the amputation. You shall make him aware of the court's sentence.
    Bardale: I'll rub it in good.
    Judge: The hood may seem superfluous to you, Mr. Bardale, but I pronounce formal sentence to honor what we do and to set it apart from frying bacon or passing gas.
    Bardale: Oh, I respect that, Judge. Only, the two of us here, it seems a little like law court, you know?
    Judge: Mine is not a court of law, Mr. Bardale. It is a court of justice. We cannot address every case. Our scope is not broad like the common law courts. It is narrower. Deeper. More pure. Our judgment final.
    Bardale: I'd better get going. You're doing the right thing like this. Feels good. I'm real grateful, Judge.
    Frank: A controller. Someone calling the shots. Out of caution or distaste, he's chosen to avoid direct action. Now he's found himself a new surrogate.
    Penseyres: Someone to carry on the killing.
    Frank: Someone predisposed to an alternative theory of justice. Disillusioned, credulous, naïve...
    Bletcher: You mean we're looking for two guys now?
    Frank: The killer's capable of a high level of violence, probably someone who's been in the justice system once or twice, done time.
    Penseyres: Ex-con, moves in similar circles outside. Limited number of places these people go. Limited ways they socialize.
    Bletcher: I think I know the kind of places you mean.
    Frank: Sit down. What should I call you?
    Judge: 'Judge' is fine. Or the name on the report. My name is 'Legion.'
    Frank: 'Legion?'
    Judge: When Jesus of Nazareth expelled demons from a herd of enchanted hogs, story has it that the demons told him their name was 'Legion.' How would you like to work for me?
    Frank: Work? You mean killing.
    Judge: Every man finds his own path to justice. You needn't commit yourself now. The offer's open. A month, a year... Many benefits. I know you're sometimes scared for your family, your wife. There's a child now too, yes?
    Frank: When you spoke to Bardale, what did you say to him when he called you from the bar?
    Judge: Bardale... who can speak to Bardale? A slave of echoes. I can talk to you. We're after the same thing.
    Frank: How's that?
    Judge: I can show you an absolute justice, an unconstrained justice. You'd have freedom to act without fear. Bardale and his kindred... they fear me, they obey me. Your family would be safe from such threats.
    Frank: Uh-huh.
    Judge: The police are about to release me. You and your group of associates have never been as close to me as I've allowed this time. I wanted you to hear my offer, feel its truth, see my strength.
    Frank: We're going to find Bardale.
    Judge: Oh, yes. My congratulations in advance. Well, it's time to go. And remember, the offer's open. And if I'm hard to reach, well, don't make the conventional assumptions.
    [Frank leaves]
    Bletcher: What'd he say?
    Frank: He offered me a job.
    Frank: The man I had Bletcher pick up has filed a half a dozen law suits. City's attorney's ordered the police to stay away from him. [Offers his sandwich to Catherine.] Want this?
    Catherine: No, thanks. There's nothing to be done, to bring this man to justice?
    Frank: He flaunts the system and gets away with it, as if his private justice was a higher, purer form.
    Catherine: Then he uses conventional law to protect himself.
    Frank: When you believe in nothing, everything is acceptable. It's a game to him. He sits at home a free man. He's taunting us.
    Cheryl: Wherein where previous findings indicate the other body parts were all sundered while the victims where alive, but I believe this tongue was removed after death. Also the instrument wasn't as sharp or as skillfully used as in previous excisions.
    Bletcher: Would that point to, uh, rage, loss of control?
    Cheryl: Doubtful. The cuts aren't unusually forceful, just imprecise. A few false starts, repetitive blade strokes.
    Bletcher: Frank?
    Frank: We do have a pattern change.
    Penseyres: Unlikely to be intentional deviation from the established method.
    Bletcher: So how do we account for it?
    Cheryl: The victim died prematurely or the killer was interrupted.
    Penseyres: The perpetrator may be getting lazy, becoming more casual as his activities lose their novelty.
    Bletcher: So it really doesn't tell us much then.
    Frank: Well, it tells us that he's less concerned about being discovered but no less dangerous... possibly more so. There's nothing here to indicate that this is going to stop.

### 522666 [1.05]

    Raymond Dees: Frank?
    Frank: What?
    Raymond Dees: I've seen it. The moment before. Their faces. They're terrified because they don't understand... unlike you, Frank. They don't understand what it is to give yourself over to chaos. But you understand. You've seen it too. I can tell.
    Raymond Dees: I touch people in a deep, lasting way. A life-altering way.
    Frank: You're really a very important man.
    Raymond Dees: Well, thank you, sirrah. I'm glad you see that. Do you know precisely what happens at the moment of detonation? Shock waves moving faster than the speed of sound, pressure of over 500 pounds per square inch and this is all unleashed by me, Frank. It moves so fast that a vacuum is formed behind it, sucking back all the air that's been forced out by the blast. So, you see, Frank, a glass splinter will literally turn itself around, go back and penetrate anything that's in its path. I just don't know anything that has the power to stop that. My art brings out the truth. People are either vic-TORS or vic-TIMS. My explosion strips every hypocrisy, every pretension sheltered in the human heart and exposes the naked soul.
    Frank: I feel your work is about waiting, anticipating the moment, the terror created. Playing so long on the mind, the fantasy becomes dull. The only moment worth a damn... the only arousal, is the moment of fire. Feel the heat upon your face. The impact upon your chest. The screams. The sirens. It is the moment of creation.
    Raymond Dees: What I do is not work, Frank. It's art. My palette is fire, glass and blood. It's a fleeting art. It lasts only a fraction of a second, but the effect is profound, permanent... and if you're lucky, you happen to look in the right direction at the right time, you might get to see my creation.
    Frank: When?
    Raymond Dees: Later. Today.
    Frank: It's not enough, Pete... all this manpower. I feel I could save so many lives if I understood what he wants.
    Peter: We all heard him, Frank. It's the thrill. Sexual transference.
    Frank: It's more. His thrills wear out quickly. First, he alerts the authorities there's a bomb. After a day he needs more. So he contacts us? Taunts us to the point of near capture? What will he do to increase his excitement?
    Peter: What if it's some kind of god complex? He talked about his creation, about controlling people.
    Frank: What I can't get out of my head is when he stated I'd be famous when I caught him. A 'star.' It lies in there, somehow.
    Pierson: You want to bring him in because he was a hero... twice?
    Frank: That's him, I know it.
    Pierson: Frank... after Centennial Park, there is no way that I could bring this guy in without more evidence.
    Frank: The bomber has expert knowledge in explosive devices. He knew exactly what and how much to use to create the effect he wants. There were two explosions today... neither one of which matched the lethal intensity of The Queen's Arms bombing.
    Pierson: It was lethal enough to kill five people.
    Frank: But not so destructive a person couldn't survive inside of it. Especially if he knew when and how the force would dissipate. Raymond Dees is a maintenance worker in that building. He has the knowledge and the opportunity to place those devices where it would best suit him. He watched the first bombing from a distance. He believed that watching the chaos which he created would be the thrill, but he needed more... to smell it, to touch it, to participate in the aftermath, but that wasn't enough either.
    Peter: So, today he placed himself within his created chaos.
    Frank: It wasn't enough to watch others. He needed to watch himself. A real star.
    Pierson: Are you saying he killed 18 people so he could be on Good Morning America?
    Frank: Killing wasn't the motive. It was a by-product of his obsession.

### Kingdom Come [1.06]

    Reverend: 'I love thee, oh Lord, my strength. The Lord is my rock and my fortress and my deliverer, my God, my rock of refuge... my shield, the horn of my salvation, my strong horn...
    Galen: If any one of you tries to leave, you will die. If you just sit down and sit still, I will tell you about the fiction and the fallacy as brought to you by the salesmen of salvation.
    Reverend: Who are you?
    Galen: I... am the lamb.
    Ardis: In all these years, we work at a distance, with a remove. It helps us to objectify... so why is this one different to me?
    Frank: The coldness, the calculation, the victims... merciless acts against the merciful.
    Ardis: I haven't been to church since I was eight. I've always been happily cynical. So why I am taking this so personally?
    Frank: I feel it myself.
    Ardis: Have you and your wife raised Jordan in any particular faith, Frank?
    Frank: No. Catherine and I haven't even dealt with it yet.
    Ardis: I know. My husband and I make it up as we go along.
    Frank: Maybe faith is like the picture album left in the closet. We don't go back and visit it every day. We need to know it's there, need to know it's safe... so we can pass it along when the time is right.
    Frank: The man who did this... who we believe did this... he does it without conscience. Is that evil?
    Father Schultz: There's a disconnectedness out there and those desperate with that feeling expect faith to fill the void and when it doesn't... they blame us.
    Frank: I can't speak to that, father.
    Father Schultz: No?
    Frank: I'm afraid my own faith is lacking.
    Father Schultz: Well, I've ministered to many who have lost their way.
    Frank: I think my time would be better spent trying to catch the man who killed your friend.
    Galen: Then you know the truth. You know that God has abandoned us. That's why you're afraid to die. Just like I am.
    Frank: No.
    Galen: You're lying.
    Frank: I'm afraid, Galen, but not like you. You're afraid to die, because you fear God's judgment.
    Galen: I've... lost my faith.
    Frank: No, you've tried to kill it, but you can't. I've... seen your ritual. You try to kill your faith with the tools of your own belief because of your pain, because you think God's forsaken you. You think that you can get rid of your pain by slaughtering the faith that's inside you.
    Galen: It is inside of me, isn't it? It just won't die.
    Frank: Yeah. I was just thinking on the plane about this man Calloway. I felt how human he was... so inundated by pain, fragmented by grief. It led him to surrender his humanity.
    Catherine: I know, Frank. It scares me.
    Frank: We can't stop evil but we can't lose our faith either.
    Catherine: And you're thinking that's what we need to teach Jordan.
    Frank: I'm going to tell Jordan that bad things happen. And even though the bird died and it upset her, we have to balance sadness... with a sense of hope... and faith.
    Catherine: I still have faith, Frank... even in a world where men like that exist.
    Frank: So do I.

### Blood Relatives [1.07]

    Frank: He knew who she was.
    Bletcher: Not many housewives make that kind of enemy.
    Frank: It's not about her. Killer's rage is directed towards someone else.
    Peter: I agree. The stab wounds were brutal but impersonal, clustered well away from her face.
    Giebelhouse: So he knew who she was, but it wasn't about her? And he sliced her up, but it wasn't directed at her?... Hey, I'm just trying to keep up.
    Catherine: How could anyone abandon a child? But millions of people do it. Millions. God, it's scary. We have home after home filled with kids like James. And we know they'll turn violent. How do I tell the survivors that no one saw it coming? They're out there, Frank.
    Frank: Thousand points of darkness.
    Catherine: People full of holes. Like James. Living off the fantasy that his mother will somehow make everything better. Frank?
    Frank: It doesn't make any sense. James never gave up. He never stopped looking.
    Catherine: It was fantasy.
    Bletcher: So, what we have here is a guy that goes to funerals for fun and kills people.
    Giebelhouse: Plus carves them up.
    Bletcher: Does Social Service have a name for that?
    Catherine: He's a classic lost child. And there's an army of them just like him... Put up for adoption at one and a half. Never placed... In and out of foster care, reform school, abuse. He essentially raised himself.
    Bletcher: Then he didn't do a very good job.
    Catherine: They never do. No one showed him how to connect with the world. Odd as this may sound, going to funerals is his attempt.
    Giebelhouse: Attempt at what?
    Catherine: Finding human contact. Family.
    Giebelhouse: Family? Please!
    Catherine: Read his diary... Decide for yourself... but I'm telling you, at some level, he wants what we all have.
    Giebelhouse: He wants to destroy what we have.
    Bletcher: I read once the first two weeks of a kitten's life seal its fate. If it has human contact... it's domestic. If it doesn't... it goes feral.
    Catherine: Tough room.
    Catherine: You've got to let him see his wife.
    Bletcher: I'm not jerking him around here. She was cut up... viciously. All the evidence is under wraps until I get my game plan in order.
    Catherine: It won't be real to him until he sees the body.
    Bletcher: I seriously doubt that that's the way he wants to remember his wife.
    Catherine: Then don't expect his cooperation. It would help to have him on your side.
    Bletcher: Oh, I could definitely stand to have someone on my side.
    Catherine: Maybe someone else should have picked up the phone when you called our house this morning.
    Bletcher: You should have waited for us, damn it.
    Frank: She'd be dead now.
    Bletcher: He should have waited. You tell him.
    Catherine: I know... I know you had to go in there... Because of who you are... Because you had no choice. Frank... I can't lose you.
    Frank: I'm not going anywhere.
    Catherine: Promise me? I don't want to ask myself 'am I strong enough to be alone?'
    Frank: It's okay. Nobody is.

### The Well-Worn Lock [1.08]

    Catherine: We all have secrets, Mrs. Bangs.
    Mrs. Bangs: Maybe that's what they're best kept as.
    Catherine: Tell me honestly, Frank. Am I going too far?
    Frank: We live in a world where too many people won't go far enough, won't do what they know is right, what they believe. I don't know how or why it got this way but the world has become so complicated that to involve yourself in someone else's problems is to invite them needlessly on yourself.
    Catherine: Just because it's hard to imagine or hard to accept, people don't want to deal with this because it's easier to believe that it couldn't really happen.
    Bangs: Yeah, well, you just go right on believing it -- whatever it is -- but when lies pass for the truth, then the whole world will have gone crazy and there won't be a damn thing that matters. Lady, there are things you just don't know.

### Wide Open [1.09]

    Frank: Yeah. Thinking about my parents, my grandparents -- forty or fifty years ago, they never locked their doors, day or night. We seem to have accepted it so... gracefully, so naturally -- the security systems. We've allowed ourselves to become almost besieged by our own fear.
    Catherine: If you're not afraid, you're living in denial. The world's changed.
    Frank: Yeah, I know. Can't turn it back. But we wonder... where are we headed from here?
    Frank: He's teaching us a lesson... about our pretensions to safety... about how vulnerable we are.
    Frank: He takes chances but everything's considered... as if scripted, planned -- what to leave, what to take, what he wants us to see, what he wants others to see. He's leaving a record of the events -- videos, 911 calls, witnesses.
    Glen: 'John Allworth.' The signature... centrifugal, vertical lines, forward expansion. The strokes... forceful, measured, alternating cursive and print. This man's signature's probably been the same since he was old enough to sign it.
    Frank: What does that tell you?
    Glen: That the signer is deliberate. He has focus, but that this is to contain his rage or his anger -- that he can be explosive, prone to outburst or violence.
    Glen: Abraham Lincoln, Elvis and Muhammad Ali, all signed the guest book at the Open House. In my professional opinion, none are viable suspects.

### The Wild and the Innocent [1.10]

    Maddie Haskell: I was at church Easter Sunday, and the minister was talking about the mystery of faith, and how easy it is to doubt what you can't prove, and how none of us saw the miracle at the Lord's tomb that day, all we had to do was to believe in it hard enough, and it would be true. And that's what faith was. 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.
    Maddie Haskell: Dear Angel, I was thinkin' today of Momma. How she had the sofest, sweetest voice you ever heard... like a willow in a breeze. In church, when she sang, people standin' around her would hush just to get a better listen. I can't help thinkin' how sad all this would have made her. She never liked Bobby much... And, for whatever reason, I fell in love with him. he paid attention to me... made me feel pretty... I saw him sittin' 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. Momma had a hard life. Guess I'm kinda glad you weren't around 2 see her hurt like she did. I'm not sayin' this like it's an excuse for anything that happened. Just that, well... I never wanted to be one of those people that gets to used to bein' sad. That must sound funny comin' from me. Love, Maddie
    Maddie Haskell: Dear Angel, I never told you about the night you left. I'd come out for groceries and when I came back 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 kinda gave up. I'm sorry. I'm sorry I gave up on you that night. Please forgive me.
    Maddie Haskell: Dear Angel, It's Christmas Eve. I remember when I was ten years old and 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 gotta go. He hates it when I write to you, and I can hear him comin' up the stairs.
    Maddie Haskell: I've never been clear on why they call it "makin' love". Every time I let Bobby have me... it felt more like... like makin' peace. You know, killin' - killin' time. A few precious minutes to myself. I found out my real dad had hit my mom a couple of times. Then she took up with Jim and he just hit her more often. I can't stop blamin' myself for what happened to my mom. What 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 but if I didn't stay in the car, I knew I'd never see Angel again.

### Weeds [1.11]

    Frank: The kidnapper sees himself as a holy figure, a purifier. He makes the impure ingest his blood so that they can be cleansed.
    Frank: The victims were taken brazenly, in public spaces. The killer knows these neighborhoods, he feels safe here.
    Sheriff Gerlach: What does this guy want? If it's money, why doesn't he ask for it?
    Frank: He sees his victim as ugly, decayed. The mutilation suggests that he wants us to see the boy the same way.

### Loin Like a Hunting Flame [1.12]

    Frank: To him, the victims are unreal, erotic figments to be manipulated. He kills them to prevent them from existing outside his fantasies.

### Force Majeure [1.13]

    Dennis Hoffman: On May 5th, 2000, seven inner planets align for the first time since the Great Flood. Uranus at the meridian of its epicenter. Earth the focus of the biggest gravitational tug-of-war in 6,000 years. Catastrophic Earth changes on alignment day, preceded by abnormal weather patterns now as stresses build. Example: hurricanes - Edouard; Andrew; Andhra Pradesh, Bay of Bengal. Example: The Sahara Desert advancing 70.7 meters per year. Example: Lima earthquake, 7.3; Loma Prieta, 7.1; Irian Jaya, 8.0. Example: ...
    [He nods toward the spot where the girl died, site of the previous night's storm.]
    Frank: There is someone out there who believes in May 5th. He's responsible for the death of two girls already. I need to know who else believes in earth changes.
    Dennis Hoffman: Einstein did.
    Frank: I mean today.

### The Thin White Line [1.14]

    Hance: I mark 'em, on the palm. That's my trademark. That makes them my property - my meat.
    Frank: And the third?
    Hance: The third one was a coward. I ate his fear up like it was a Thanksgiving meal. His sweat was the cranberry sauce. His breath was the stuffing. And those frozen eyes? They were the dark meat.
    Frank: You marked him - but you didn't kill him.
    [He bends back his hand to show Hance his scar.]

### Sacrament [1.15]

    Bletcher: I'm sorry, Frank.
    Frank: You saved Helen's life, Bletch. It's your surveillance that forced him into hiding her in his house.
    Frank: He used his son to procure his victims. He was the devil that Green couldn't escape.
    Tom Black: I feel nothing. None of this is real. There is nothing inside.
    Frank: Some truths are better left unknown.

### Covenant [1.16]

    Frank: Your Honor, I've spent my whole adult life trying to understand how the mind of a killer works. How he thinks, how he feels. William Gary is not capable of doing the things he has been convicted of.
    Frank: He may be feeling so guilty that he convinced himself he is responsible for the killings.
    Reilly: Fashion an angel for your wife's birthday and then kill the family. Happens all the time.
    Frank: Why didn't you let you lawyer use temporary insanity?
    Gary: I wasn't insane. I was angry. I was in rage. I let things build up shame on me.
    Gary: I came in from working in the garage. I was tired. I put in a long day. William Jr. was coming down from the stairs. He didn't see me at first. I think I thought I was just smacking him till I realized I had the chisel in my hand and there was blood all over me... my son was dead. My wife came down from the stairs, she must have heard the noise. There was no stopping now. After I was finished with my wife I went into my daughter's room. Mary was awake. That made it more difficult. She cowered on her bed crying. She didn't fight. She didn't fight back or try to run away. It was the first time I had ever laid a hand on her. I had to go upstairs to Gabe's room. I'm grateful now he didn't wake up to see me looking down at him. He was only five years old. Once you start something like this you somehow have to finish it.

### Walkabout [1.17]

    Peter: While you were at that trail. Whatever you were after. That is your business.
    Frank: What did you do to me?
    Dr. Miller: I thought I did you a favor. One to another.

### Lamentation [1.18]

    Peter: They say genius is the ability to hold two contradictory thoughts in your mind at the same time. What do you call a man who holds two contradictory personalities?
    Frank: The Devil.
    Frank: Who is she?
    Dr. Fabricant: She?
    Frank: Lucy Butler.
    Dr. Fabricant: You had me commuted so you might learn the nature of evil. I can tell you now... You think I'm evil, Frank? You don't know what that is. It's greater than we are -- you and me.
    Frank: Who did this to you?
    Dr. Fabricant: The base sum of all evil... The sleep of reason... The Devil's liege...
    Frank: [shouting] Who was in my house?!
    Dr. Fabricant: It knows you, Frank. It feeds off your passion.
    Frank: [shouting] Who killed my friend?!
    Peter: Let's go, Frank.
    Dr. Fabricant: Everything you hold sacred... Frank... Run... [more weakly] Run.
    Frank: I know this man. I know what drives him. Dr. Fabricant told me as a boy he used to slit the stomachs of neighborhood cats, turn them loose, just to see how long they'd live. After med school, as a resident, he would respond to no-code patients just to see how they died. He said the medical profession had but one interest for him -- the knowledge and the opportunity to rend death from life.

### Broken World [1.20]

    Willi: Once you figure that out, that's when you leave your mark on this world, Frank.
    Frank: You're not going to make any marks on this earth. You don't even rate a footnote.
    Frank: His only source of feeling alive is his urge for sexual pleasure. His paraphilia has now defined it. It intoxicates and terrifies him. He's standing at an abyss and he's hesitating.
    Frank: This time. My work normally begins with dead bodies... multiples of dead bodies. I came here because I think we have a chance to stop this killing before it starts. You're witnessing the birth of a psychosexual killer.

### Paper Dove [1.22]

    Frank: Hunziger doesn't fit my profile on this case. He loved animals. Trained hunting dogs with his dad. Gregarious. Dated regularly. He was very popular in high school, which is where he met his future wife. Very focused on his future. That's not the man that did this.
    Emmerich: So, he's not a... loser who wet his bed and tortured his Easter bunny. A lot of men who are not serial killers murder their wives.
    Frank: Her larynx was excised, but it was done very carefully. The jugulars were not cut. He wanted her alive, but unable to speak. This indicates some organization. And some medical training. I'd like to plug in to what you might have on this victim type.
    Devlin: Okay, we'll give you what we have.
    Henry: I'm not playing with you anymore in any way. Understand? I'll annihilate your sleep forever because I'm sure as hell going to let the public know that what's happening to them is because of you... your stupidity and Frank Black! I know about Frank Black, yes. Now, you go back and you find her, damn it! She's in those woods alone! I might as well let you know, Mr. Kane, that I intend to terrorize D.C. until there are soldiers in the streets corners.
    Kane: You're misunderstanding me.
    Henry: Do not talk to me! This city is just one small room in my playground. I've decided to take my stake in America, lay claim to my own peculiar heritage. The 'moron' is going to wander far and wide through the land and kill and kill and kill...
    Kane: So you think Hunzinger's wife was done by our so-called 'Big Woodsman?'
    Emmerich: There isn't a remote similarity in the M.O. The Woodsman is an abductor. He never kills in their homes.
    Frank: I think Hunzinger's wife was his first victim. When he almost got caught, he changed his M.O., abducting, taking them from the home, then killing them.
    Kane: But his signature is the same.
    Devlin: The larynx? The four women our Woodsman has killed didn't have their larynxes removed.
    Frank: In one case, the hyoid bone was destroyed, crushed with bolt cutters. In another, beaten flat with a hammer. Two others were garroted with piano wire, severing their tracheas. In each case, the aim was to stop them from speaking.
    Emmerich: 'Silence is golden?'
    Frank: He's silencing somebody he knows... his wife or his mother. Once they're silenced, they become a captive audience. Still listen, be sympathetic. That's what he wants. That's why he never disfigures their faces.
    Devlin: Do you think he's got a nagging wife? We've always pegged The Woodsman as a... loner.
    Frank: Well, he never does a blitz attack. He easily enters middle-class homes and confronts them. He's comfortable there. I think that's where he lives. I think he does not live alone.
    Kane: Amy Lee Walker.
    Emmerich: A woman fitting his basic victim profile disappeared a few days ago in Hagerstown.
    Devlin: Everybody's got a theory on the increasing violence in our society.
    Emmerich: My wife thinks it's the artificial hormones in beef.
    Devlin: Seriously, is it true that some of your people think it's because of some greater evil out there?
    Kane: Yeah, I mean, that sounds almost like a religious thing.
    Frank: Yeah, some people have that belief.
    Devlin: What's your take?
    Frank: I don't think it's the beef.
    Frank: Henry Dion.
    Henry: Uh-oh... You!
    Frank: Uh-uh. Don't move, Henry.
    Henry: I won't move... She's dead. The important thing is we finally came to understand each other, isn't that right, Frank?

## Season 2
### The Beginning and the End [2.01]

    The 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--God?

### Jose Chung's Doomsday Defense [2.09]

    Jose Chung: Unlike profiling serial killers, writing is a lonely and depressing profession.

### Goodbye Charlie [2.10]

    Frank Black: I'm not depressed. I'm just quiet.

## Season 3
### Seven and One [3.19]

    Frank Black (voiceover): I've been given the gift of insight, of seeing in the dark and seeing into the darkness of men's hearts and minds. I know what evil is. I've seen it, felt it, tasted it, inhaled the demon breath of its ancient powers. The same powers that have been prophesied through history and which are now marshalling. Who is witness to this? Have we stopped listening to the prophets, the seers and the sayers? I have misjudged my gift. If I see in the darkness it's because there is light. And it is the light which guides me now. The light that will not go out, that will lead us out of the dark night, if we let ourselves feel this, too. It will protect me, as it protects those around me. Even as the ancient forces try to steal our breaths. Seven years of trials and tribulations. Seven plus one, the prophets tell us. Is this the end? The last year of this peace? Or the beginning?

## Cast

* Lance Henriksen - FBI Special Agent Frank Black
* Megan Gallagher - Catherine Black (seasons 1–2, guest season 3)
* Klea Scott - FBI Special Agent Emma Hollis (season 3)
* Terry O'Quinn - Peter Watts
* Brittany Tiplady - Jordan Black
* Bill Smitrovich - Lt. Robert Bletcher (season 1)
* Stephen J. Lang - Det. Bob Giebelhouse
* C. C. H. Pounder - Cheryl Andrews
* Sarah-Jane Redmond - Lucy Butler
* Kristen Cloke - Lara Means (season 2)
* Allan Zinyk - Brian Roedecker (season 2)
* Stephen E. Miller - Andy McClaren (season 3)
* Peter Outerbridge - Barry Baldwin (season 3)

## External links

* Millennium quotes at the Internet Movie Database