The ongoing search for a serial killer is marked by bizarre
occurrences and revelations concerning the Millennium Group’s
experimentation with radical brain surgery.
Season Three on DVD
In this continuation of the previous episode: In
the aftermath of the apartment explosion, a wounded Barry
Baldwin is placed inside an ambulance. It is believed that
he will survive. But during the trip to a hospital, a
paramedic deliberately presses a piece of shrapnel down into
Baldwin’s chest, killing him. When Lucas Barr views a
television news report about Baldwin’s death, he contacts an
FBI phone number listed on the screen.
A quantity of videotapes is confiscated
from Barr’s charred apartment. It is believed that Barr used the tapes
to record the murders. Meanwhile, McClaren tells Emma that he plans on
retiring. He informs her of his intention to nominate her as his replacement.
Later, McClaren tells a group of agents that Barr phoned the FBI toll-free
number from the location of his most recent attack. Frank realizes that
the bodies of the victims are missing.
A doctor informs Emma that although
her father’s mental function is deteriorating rapidly, his physical strength
has remained the same, which is highly unusual. Later, Watts reiterates
his offer to cure Emma’s father of his affliction.
Frank visits the home of Lucas Barr’s
most recent victims. He notes that the television is set to channel fourteen.
That number, Frank notes, is the final station of the cross. Frank believes
that Barr phoned the FBI because he was horrified by Baldwin’s death. Later, McClaren shows Frank night vision
footage taken inside Jordan’s bedroom, meaning
Barr had access to the house. McClaren asks Frank to confirm that the "channel
fourteen" stations-of-the-cross clue means the killer has ended his mission.
But Frank makes mention of "resurrection."
Meanwhile, Lucas Barr moves into the
house of a friend, Cheryl Kellough, a pretty 25-year-old who is also quite
Believing Watts and the Millennium
Group are responsible for Barry Baldwin’s death, Frank demolishes the windows
of Watts’ house using a 2 x 4. He accuses Watts of attempting to break
him down in hopes he will go crawling back to the Group. During the exchange,
it appears as if Watts doesn’t know if the Group is behind the plot.
Watts accesses the Group’s computer
via modem to research the case. His connection is cut off, but he nonetheless
manages to download a list of aliases for Lucas Barr. Moments later, Emma
contacts Watts and informs him she cannot accept his offer. But when she
next visits the retirement home, she discovers that her father has been
taken away by persons unknown.
Peter Watts tells Frank that a year
after Ed Cuffle’s capture, Millennium Group scientists learned to "switch
on" the psychological process of learning in adults, development that usually
ends after infancy. Frank wonders if recreating another Ed Cuffle is considered
progress. Moments later, Watts hands Frank the list of aliases for Lucas
Barr. He assure him that he has acted as his protector from the very beginning.
Frank brings the alias list to Doug Scaife. While looking at Lucas Barr’s high school yearbook, Frank notices
the name of the student listed just prior to Lucas. That name, "Doug Baron,"
matches a name on the alias list. Frank asks Scaife to concentrate his
efforts on finding all information on that alias.
When Emma returns to her apartment,
she discovers her father, now quite lucid, with a small bandage covering
the spot where Group surgeons operated on his brain.
Frank’s behavior ultimately leads to
the end of his association with the Bureau. But before Frank leaves, Scaife
gives him an address for Cheryl Kellough’s house. When Frank arrives at
the house, he speaks to Lucas and Cheryl through the barricaded door. Cheryl
realizes something is terribly wrong; she trips the circuit breakers, plunging
the house into darkness. Lucas dons his night vision gear and, cordless
drill in hand, finds Cheryl hiding in a closet where the bodies of his
last two victims have been hidden. Cheryl screams as she backs into the
corpses. Frank manages to break through the plywood barricade. Light streams
into the house, blinding Lucas. He rips the night vision equipment off
his face and takes Cheryl hostage, holding the cordless drill to her head.
As Lucas speaks with Frank, his former, sane self returns, if only for
a moment. Realizing he has committed unspeakable acts of violence, Lucas
turns the drill on himself, boring a fatal hole into his own skull.
Inside Watts’ study, lying in a pool of blood, is an adult
male, his identity uncertain.
Frank discovers Watts’ distinctive
packet on the dashboard of his car. Inside are two files. One is labeled
"Black, Frank;" the second is labeled, "Black, Jordan." A look of terror
passes over Frank’s face. He races to Jordan’s school and retrieves his
daughter. As Frank and Jordan drive along a mountain road, towards their
uncertain future, Jordan reminds her father that "we are all shepherds."
- Barry Baldwin clings to life
Lucas Wayne Barr sits with his victims
- Barr's threatening footage of Jordan
- Frank Black threatens Peter Watts
- Frank trains at the Bureau firing range
- Peter Watts fears for his family
- James Hollis is prepared for his procedure
- Emma resigns herself to the Group
- Jordan holds a photograph of her mother
- FBI analyst
- Barr holds
Cheryl Kellough hostage
- A corpse lies under Peter's desk
- Frank and Jordan run away
season finale that was ultimately the series finale (a fact that FOX neglected
to mention until the actual airing), the last episode of Millennium
hardly served as a solid conclusion to the endless mysteries and dramas that
have unfolded over the past three years... However, once again the well-drawn
relationship between Frank and Jordan redeems the show; the final moments of the
two running desperately away from the horrors of their lives are among the
series' finest." —Sarah
Kendzior & Lisa Kohles, The 11th Hour
its grand design remained unfinished (and, like that of The
X-Files may have been too tangled to really be resolved)
the excellence of so many individual episodes, and the craggy-faced
commitment brought to his role by Lance Henriksen, made Millennium
a very brave, and often oddly beautiful, stab at something quite
different from the TV mainstream. It remains an intriguing
time-capsule of end-times anxieties, and a brilliantly cinematic piece
of television." —Edith
Mason, Fortean Times
one hand, the show was a product of its time: as the year 2000
approached, it showed us a bleak yet fascinating glimpse of what the
future might hold. On the other hand, it was too far ahead of itself:
the public didn't seem to be ready for what Millennium had to
offer, and its parallel existence with the more popular X-Files
left most viewers with a choice of one or the other, rather than both.
Had either show existed on its own, both would have undoubtedly ended
much more smoothly." —Randy Miller
III, DVD Talk
the third, and sadly, final season of Millennium, Carter
brought the show back to its roots, returning Frank Black to the FBI
and giving him a new partner, played by Klea Scott. Fans were
sometimes thrown off by where the third chapter went, but the season
stayed far more interesting than most predictable television and
finished promisingly, with plenty of loose ends to tie up. They
probably never will be. But, we do have the final season of
Millennium to keep us thoroughly creeped out until the end of the
"Goodbye to All That" is the final
episode of Millennium, the show's sixty-seventh.
With Millennium's future on the
Fox network uncertain yet again at the close of another season,
writers Ken Horton and Chip Johannessen were forced to script an
episode that would serve as both an effective season finale and a
potential series finale. Ultimately, "Goodbye to All That" became the
latter. The episode was not advertised as Millennium's last
until moments before it first aired, at 9:00pm on Friday, May 21,
This episode's serial killer subplot —
involving Lucas Barr's relationship
with the blind Cheryl Kellough — was
taken almost directly from Thomas Harris' Red Dragon, the
bestselling thriller that introduced the characters of Hannibal Lecter
and Will Graham to literature and the silver screen and helped to
define the serial killer genre. "Goodbye to All That" represents a
clear homage. The literature of Thomas Harris was, undeniably, among
the most significant of Millennium's many influences.
Lance Henriksen was once asked, prior to
Millennium's cancellation, how he would depict the show's grand
finale if granted the opportunity to choose the method of Frank
Black's departure from the screen. Henriksen replied, "I see myself
sitting on a beach with my daughter, Jordan, talking about
in a new language —
about man's potential and the thing's
we've learned about how people have advanced themselves. Intimacy is a
different thing. Intimacy is the grand finale. I think what most
people fear is going to their grave alone, and what they desire most
is intimacy. Maybe I'll just be walking down the beach and drop dead."
The episode is named for
British writer Robert Graves' autobiography, Goodbye to All That,
an account of the author's experiences in the British Army during
World War I. The chosen title became most appropriate as this was to
be Millennium's series finale, offering viewers a farewell to
all of the show's familiar characters and plotlines.
Lance Henriksen as Frank Black
Brittany Tiplady as Jordan Black
Terry O'Quinn as Peter Watts
Klea Scott as Emma Hollis
Peter Outerbridge as Barry Baldwin
Stephen E. Miller as Andy McClaren
John Beasley as James Edward Hollis
Jeff Parise as Lucas Wayne Barr
Jessica Schreier as Barbara Watts
Trevor White as Doug Scaife
Clare Lapinskie as Lily Chambers
Jade Malle as Cheryl Kellough
Anthony Harrison as Ken McGreevey
Jill Krop as the Newscaster
Kevin McNulty as Dr. Arnett
Richard Stroh as the Paramedic
Frida Betrani as the Art Teacher
Music by Mark Snow
Production Designer Mark Freeborn
Director of Photography Robert McLachlan
Associate Producer Jon-Michael Preece
Co-Producer Robert Moresco
Co-Producer Paul Rabwin
Producer Thomas J. Wright
Co-Executive Producer Ken Horton
Co-Executive Producer John Peter Kousakis
Executive Producer Chip Johannessen
Executive Producer Chris Carter