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116 Covenant

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[MLM-116 (4C16)]

Written by Robert Moresco

Directed by Roderick J. Pridy

U.S. Air Date: March 21, 1997

[Transcribed by Maria Vitale

Edited by Libby]



[Outside, night, a quiet suburban neighborhood. A sheriff's car is parked by a curb in front of the sheriff's home.]

[inside the garage, a man, Sheriff William Garry, works on a block of wood which is spinning on a lathe. He is wearing goggles and holds a chisel on a guide rail. The garage door opens as the family car pulls up the driveway and enters the garage. Utah tags, number: 529-M5L. He turns to watch the vehicle pull in, then shuts off the lathe, pushes his goggles up on his head and watches his family exit the car. First to get out of the car is little Mary Garry, followed by the baby of the family, Gabriel. Both walk by the work bench and into the house, greeting him as they pass.]

MARY: Dad.


[Then William Garry, Jr., the eldest, steps out of the car with two bags of groceries in his arms, closing the door with his foot and stands waiting for his mother to pick up the final bags and exit the car. William Garry stands by the work bench, does not move toward them to help with the bags. He can barely bring himself to look at his wife, Dolores, as she too holds a couple of bags in her arms, pulling the car door shut with an elbow. She gestures at the bags as she speaks to him.]

DOLORES: I, uh, brought chicken from Small's.

GARRY: I'm going to skip dinner.

[Awkward pause as William Jr. keeps from looking directly at his father.]

GARRY: How's Gabe?

DOLORES: We couldn't get into the doctor. I bought cough syrup at the pharmacy.

[He nods, turns, lowers his goggles into place, flips the switch back on and goes back to running his chisel along the block of wood. His wife pauses briefly to look at him, then walks past him and enters the house. William Jr. walks slowly after his mother, pausing by the door, then turns to stare at his father until he notices him and shuts off the lathe. He pushes up his goggles again and brings his eyes up to meet his son's.]

WILLIAM Jr.: You should come to dinner, Dad.

WILLIAM: You go on in, son.

[The boy reluctantly nods his head and enters the house. William Garry again turns on the lathe then stabs the work bench with the chisel, plunging the blade tip into the surface. He raises his eyes and looks off to the side.]

9:17 P.M.

[in the Garry kitchen, William Jr. lifts the lid of a cookie jar decorated in an angel motif. He removes a cookie then takes a glass from a dish rack by the sink and goes to the refrigerator for some milk. The refrigerator door is covered with family photos and drawings, each held in place by several magnets - all are of angels in various poses.

[William Jr. heads down a darkened flight of stairs with the cookie and milk in hand. He notices something lying on the ground at the foot of the stairs. An object that looks like a small body is wrapped in a white sheet. He continues walking slowly down the steps as a door opens before him. The bright light from the other room moves slowly over the body on the ground as the door swings wide revealing blood on the sheet. The light casts a shadow on the ground which shows someone holding a chisel and moving towards the boy. He looks up and cringes because of the light. Then we see the boy as the killer sees him: with a halo or aura of bright white light surround his head and face. The shadow of the killer continues to move over the body on the ground and towards the boy on the stairs. He becomes frightened but he knows the killer and doesn't try to run.]

WILLIAM Jr.: What are you doing?

[Again we see the boy as the killer sees him: a bright light illuminates his head from behind, creating a glowing or halo effect. In the illusion, the boy's face is calm, peaceful, almost smiling - in marked contrast to the fear he is actually expressing.]

10:15 P.M.

[The Sheriff's Office. A phone rings. Deputy Kevin Reilly answers it.]

REILLY: Reilly.


REILLY: This is Deputy Reilly. Can I help you?

[Long pause as we are back again at the Garry residence. William Garry can be seen with blood on his right hand holding the phone. Blood is also on his neck. The view alternates between the two during the brief phone conversation.]

GARRY: I did it.

[Long pause as Reilly's face can be seen reacting to the confession. Then Garry's face again, covered in blood.]

GARRY: They're dead - all dead.

[fade to black]

[main titles]

"Thou dost frighten me with dreams and terrify me by visions."

Job 7:14

[polaroid fade up]



[Outside, a beautiful sunny morning, the Black residence.]

[inside, Jordan's bedroom. She lies fast asleep in her bed as her father, Frank Black gently kisses her head twice before pulling the bed covers up over the child's arms.]

[Then we are in neighbor Jack Meredith's kitchen as he prepares breakfast and watches the morning news on a small TV set on a counter.]

REPORTER: In Ogden, Utah, the prosecution in the case of former County Sheriff William Garry, convicted of murdering his wife and children, is expected to push hard for the death penalty.

[The TV screen shows first the reporter speaking at the anchor desk at the studio with the station logo and name behind him and superimposed on the lower right hand corner of the screen: KJPK 2, then a still photo of the country prosecutor, Calvin Smith.]

REPORTER: County Prosecutor Calvin Smith is bringing in a former F.B.I. agent...

[Jack has walked over to the TV set which is near a window as he's watched the news and now glances out that same window to see Frank open the rear door of his red Jeep Cherokee, parked in the driveway next to his wife's blue mini-van. Frank tosses in a bag, shuts the door, then heads for the driver's seat. We continue to hear the rest of the news broadcast in the background.]

REPORTER: ...to give the jury a psychological profile of the man he says does not deserve to live out his life in prison. In other news, disaster strikes closer to home, where an intercontinental gas line has erupted in the early hours...



MONDAY, 9:18 A.M.

[Outside, sunny. Inside, Frank arrives, is led into a conference room by Prosecutor Calvin Smith and introduced to two other people who are there to meet him.]

SMITH: Charlie Horvath. Say hello to Frank Black. He's the man who's going to close the book on Mr. William Garry. (to Frank) Charlie's the Assistant County Prosecutor. He did a lot of good work on that trial.

HORVATH: We appreciate you being here, Mr. Black. This town needs to get past this thing.

[Frank doesn't speak but nods his head briefly.]

SMITH: This is Didi Higgens. She's the Assistant Pathologist to the M.E. He couldn't be here today but, I assure you, Didi's well acquainted with the facts of this case.

FRANK: How do you do?


[Frank walks over to a corkboard where photos of the Garry family have been pinned.]

SMITH: Frank, we're all aware of the importance of what it is that you do.

[several of the photos show the family in happier times, smiling, laughing, posing by a Christmas tree; the family gathered together, posing for a family portrait; William Jr., smiling, sitting cross-legged; Mary and William Jr. together, smiling.]

SMITH: If the jury even considers that it wasn't a cold, calculated premeditated murder, they won't vote capital punishment.

[Frank looks at a photo of William Jr. sitting cross-legged with a smile stretching from ear to ear. The photo is next to another one which is only partially visible. This one is of at least three bodies wrapped in blood-stained white sheets.]

SMITH: We need to make sure some court of appeals down the road doesn't set William Garry free to do this again - maybe to some other family. Didi, you want to run this down for Frank.

[she nods and walks over to stand beside Frank. Also pinned to the board are other crime scene photos and the chisel used for the murders. It is in an evidence bag. She points to photos on the board as she refers to details in the case. Frank studies each of them carefully as he listens to Didi Higgens speak.]

DIDI HIGGENS: William Garry's fingerprints were found on this. It's called a skew chisel.

[she points to it and runs her fingers down along the edge.]

SMITH: One minute the boy's smiling up at his father, the next he's got that in his heart.

DIDI HIGGENS: Mrs. Garry heard the commotion, came downstairs and surprised Garry.

[A coroner's photo of Mrs. Garry can be seen. It shows only her head and shoulders bare; the rest is covered by a white sheet. Beside it is a crime scene photo of chalk outlines of the four bodies as they were found. Police markers rest within each of the outlines.]

DIDI HIGGENS: She put up a prolonged struggle. Number of defensive wounds on the arms and hands.

[Another photo shows a close up of Mrs. Garry's right hand. The pathologist had held the tips of her fingers down so that the entire palm of her hand could be photographed. There are two horizontal cuts along her four fingers and two other long, deep, horizontal cuts across the palm, one above, one below, the thumb.]

DIDI HIGGENS: Death came when her central nervous system shut down due to oxygen deprivation caused by four puncture wounds to the heart.

[Frank looks up at a photo of Mary Garry, smiling, wearing coveralls. She looked to be about Jordan's age. The similarity between the two girls is not missed by Frank. Didi Higgens continues with this photo and the description of what happened to her.]

DIDI HIGGENS: The little girl, Mary, was in her room in the basement. Eight puncture wounds to the chest area. Garry then went up to Gabriel's room, the youngest child.

[Next to Mary's photo is one of Gabriel as he sits cross-legged on a bed. Playing cards can be seen strewn beside him. He seems pensive in the photo with his left hand resting against his chin, looking off to the left of the photo.]

DIDI HIGGENS: Killed him, too. Garry wrapped Gabriel in a sheet and carried him down to the basement...

[Two more photos can be seen. The first is the one which was partially seen earlier of the four bodies on the ground wrapped in blood-stained white sheets. The full photo shows a bed in the background. The second photo is a close up of another bed. Blood can be seen on the mattress and a stuffed elephant lies on the ground in front of the bed.]

DIDI HIGGENS: ...where he wrapped the others in sheets and laid them side by side. We think he sat on the basement steps for 15 or 20 minutes before calling it in.

FRANK: Sheriff Garry must have had a lot of friends in Weber County. Nobody saw this coming?

SMITH: Well, everybody knew that they were having trouble but, my God, no one knew the extent of the problem.

FRANK: I'll need access to the crime scene.

SMITH: Charlie and Didi'll get you whatever you need.

FRANK: (to Horvath) Copies of the court transcripts.


FRANK: (to Didi) C.S.I. photos and forensic reports.

DIDI HIGGENS: Got those right here.

FRANK: (to Smith) I'll also need to speak with Garry.

SMITH: (laughs) Garry's attorney will never consent to you interviewing him but there's a tape of his confession on the table.

FRANK: Thanks.

[smith turns towards the door, opens it and stands by the door.]

SMITH: Don't thank me, just be ready to go by Wednesday. (pause) Frank, the last thing those children saw before they saw the face of God, was their father's face - the face of a murderer. I want William Garry to pay for that.

[He leaves the room, closing the door behind him.]

[Frank picks up the audio tape from the table and looks back at the board again. There is a close up of the Garry family posed for their family portrait. Garry has his right arm around Mary. His wife holds young Gabriel on her lap and William Jr sits on his mother's left.]

[Frank visits the crime scene. He opens the door and looks into the garage. The first thing he sees is a wooden sign which hangs at one end of the workshop area. Carved into the wood is the following: 'If a man fails at home, he fails in life'.]

[He walks into the garage and stands beneath the sign, looking up at it. He looks down at a storage chest of drawers that is covered with tools and quickly looks through some papers. He then walks over to the lathe. The block of wood Garry had been turning that night no longer is there. Frank flips the machine's switch on, then off. He picks up the chisel Garry had been using along with a rag and looks at the tip. He puts them both down and picks up an angel, carved in wood, hands in a prayer position and fashioned so as to rest sitting on the edge of a bookshelf. Etched into the angel's feet are the words: 'love Bill.']

[The door's hinges squeak open. The sheriff's deputy has arrived.]

REILLY: You're Frank Black?

FRANK: Yeah.

REILLY: Deputy Reilly. I'm supposed to let you in the house.

[Reilly unlocks the door and pushes it wide open for Frank who steps in, puts down an envelope he's been carrying along with a small audio tape player and snaps his jacket closed. He quickly glances around the living room which looks neat and comfortable, a magazine lies open on the table. The area above the mantlepiece is covered with family photographs: of both parents with the children, of the children alone at various ages, of either parent with one child alone and of both adults posing happily together.]

FRANK: I'd like to see the kitchen.

[in the kitchen, Frank removes several photographs from the envelope. He looks at one in particular that was taken in the kitchen overlooking the sink and shows the window and something written in blood on the glass. The sheriff's car could be seen through the window parked outside the house. He looks out that same window which is now clean.]

FRANK: There was a number written on the window in blood: 12815. What was made of that?

[Reilly doesn't respond. Frank turns to look at him.]

REILLY: Nothing. No one ever figured out what it meant.

FRANK: Garry wrote it, after the murders?

REILLY: Bill says he remembers writing it but he doesn't remember why. I know Cal Smith checked out its relevance to numerology, astrology, that sort of thing.

[Frank takes a step back and looks down at a white rug placed in front of the sink. It is clean and has no stains of any kind. He looks again at the photos. Another one shows the sink and countertop as well as the rug. There are stains on the countertop where attempts were made to find any fingerprints but the rug itself is free of any stains.]

FRANK: How much blood was here on the rug?

REILLY: Just what was on the window. The murders took place downstairs and in the little boy's room.

[Frank walks over, picks up the tape recorder and presses the 'play' button. Garry's voice can be heard. This is the recording of his confession.]

GARRY: (on tape) I came in from working in the garage. I was tired. I'd put in a long day.

[As the tape begins, Frank looks on the counter and finds a small wicker shelf, on it are two angels made of different materials.]

[As the tape continues, Frank walks through the house following Garry's description of the events that night. He retraces William Jr.'s steps as he came down the stairs with his milk and the cookie.]

GARRY: (on tape) William Jr. was coming down the stairs. He didn't see me at first. I think I thought I was just smacking him until I realized I had the chisel in my hand and there was blood all over me and my son was dead.

[Frank opens a medicine cabinet and examines its contents: 'Night Ezzzzzz,' some over-the-counter sleeping pills; a bottle of ibuprofen, the new bottle of cough syrup for the youngest boy; a bottle of musk aftershave; disposable razors; some nondescript bottles; some bottles of nail polish and a store receipt.]

GARRY: (on tape) My wife came down the stairs. She must have heard the noise. There was no stopping now.

[Frank picks up the receipt, closes the cabinet door and looks at the slip of paper. It reads: M&W PHARMACY OGDEN, UTAH.]

GARRY: (on tape) After I finished with my wife, I went into my daughter's room.

[Frank pushes open the door to the girl's room. Everything has been left as it was that night. We see her table in a corner with a small lamp, a snow ball and several other items. A picture hangs on the wall. As Frank looks into the room we see the carpet is greatly stained with the girl's blood as is the bare mattress.]

GARRY: (on tape) Mary was awake. That made it more difficult. She cowered on her bed, crying.

[Frank continues to walk through the house. The angel motif is repeated wherever he goes. On the wall at a landing upstairs a wall decoration of two angels hangs above photos of the Garrys and their children. On another wall, even more photos of the happy family.]

GARRY: (on tape) She didn't fight. She didn't fight back or try to run away. It was the first time I'd ever laid a hand on her.

[Frank looks at a photo of Garry holding Mary on his lap, his arms folded around her, both smiling.]

GARRY: (on tape) I had to go upstairs to Gabe's room.

[Frank enters the little boy's room. There are shelves with toys, games, books and stuffed animals all neatly in their place. Some blood can be seen on the bare mattress. The stuffed elephant, which could seen in one of the photographs earlier, still lies on the ground in front of the bed. Frank picks it up.]

GARRY: (on tape) I'm grateful now he didn't wake up to see me looking down on him.

[Frank looks at the toy, then throws it down on top of the bed.]

GARRY: (on tape) He was only five years old. Once you start something like this, you somehow have to finish.

[Frank leaves the room.]

[Later, thunder can be heard as Reilly drives Frank from the Garry house.]

FRANK: How long have you known Garry?

REILLY: Twelve years. He brought me to the department.

FRANK: You liked him?

REILLY: I respected William Garry more than any man I've ever known.

FRANK: What about Mrs. Garry? You friends with her?

REILLY: I was close with the whole family.

FRANK: Why do you think he did these things?

REILLY: To be honest, Mr. Black, I don't think about that. No use stirring up feelings.

[Thunder can be heard again as the vehicle goes along the empty road in the rain.]

[Later that night, in a motel room, Frank places the crime scene photos out on the bedspread when the phone rings. He answers it.]

FRANK: Hello.

JORDAN: Hi, Daddy.

[The view alternates during the phone conversation. Jordan can be seen lying down, resting across her mother's lap, covered by a blanket.]

FRANK: How's my girl?

JORDAN: Tired, but I wanted to say good night to you. Good night.

FRANK: Taking care of Mommy?


FRANK: Okay. Sweet dreams.

[Catherine takes the phone and continues talking to Frank as Jordan falls asleep.]

CATHERINE: Hi. How did it go today?

FRANK: Well...

CATHERINE: What is it?

FRANK: I just finished reading Garry's confession. It's very strange.

CATHERINE: What do you mean?

FRANK: Well, in most murder confessions, there's lots of little lies, inconsistencies, things not remembered, half-truths - an attempt to minimize the brutality of the murders. None of that's here. He's accounted for everything.

CATHERINE: He was a police officer. He knows about crime scenes.

FRANK: Yes, but for a murderer to have this kind of clarity of truth, it's very strange.

CATHERINE: So, all that truth adds up to a lie?

FRANK: I don't know. (pause) I love you.

CATHERINE: Me, too. Bye.

FRANK: Bye-bye.

[He hangs up the phone, then stares down at the photos spread out on his bed. They were all placed down on the bed from the opposite side from where he is now standing so the photos are all upside down to him. He takes the photo of the sink and rug and turns it rightside up. Using a marking pen, he draws a circle at the base of the sink on the rug. He then does the same to the photo which showed the numbers written in blood on the window. He circles the numbers with the pen. He picks up the second photo and looks at the numbers. It triggers a brief vision: William Jr. as the killer saw him, with the light illuminating the boy's head from behind; the boy's face awash in a blindingly bright white light intercut with images of him smiling with that same illumination surrounding his head.]

[Frank again looks at the numbers written in blood: 12815.]

[fade to black]

[polaroid fade up]

[Another day, a coffee shop. Frank goes int to meet with Garry's attorney, Michael Slattery.]

SLATTERY: Frank Black?

FRANK: Thanks for meeting me.

[Frank picks up Slattery's briefcase from the chair and hands it to him. He then sits down across from Slattery. A waitress comes to their table.]

FRANK: Just coffee, please. Black.

WAITRESS: You got it.

SLATTERY: Listen, I want to get this on the record here: I may have been handed a case that I can't win but I'm not an idiot. I'm not going to turn my client over to you.

FRANK: I'm not here to condemn your client. I'm here to deliver a behavioral profile for a jury.

[The waitress brings Frank his coffee.]

FRANK: Thank you.


FRANK: Tell me about him.

SLATTERY: Actually, there's nothing to tell. The man said two words to me in four months: 'I'm guilty.'

FRANK: I read the court transcripts. Why didn't you plead temporary insanity?

SLATTERY: He wouldn't let me. Man wants to die - needs to die. See, according to Garry's religious beliefs, for a murderer - shedder of blood - to be forgiven by God at the time of his death, his blood must also be shed. Death by firing squad, fortunately, allows for this dispensation.

FRANK: Do you ever wonder about his background? No history of violence - departmental, domestic - of any kind.

SLATTERY: The guy was an eagle scout. But the man confessed and the facts support the confession. There's no other suspects. His fingerprints are on the murder weapon. All the forensic evidence points to him. All I can fight for is to keep him alive. I'll probably lose that. You for it or against it? Personally, I mean.

FRANK: What's that?

SLATTERY: The death penalty.

[Frank doesn't answer. He just looks at Slattery who continues.]

SLATTERY: See, for me, it's real simple: if you like the idea of killing people, you're for it; if you hate the idea of killing people, you're against it.

[Frank turns around and looks behind him. Sitting a few tables away near the window, is Deputy Reilly who has been staring at Frank throughout.]

SLATTERY: Poor William Garry. The man just wants to die and he's saddled with a lawyer who's the only man in town who wants to save him.

FRANK: Well?

SLATTERY: Come on, Frank. You were called here by the prosecution. You don't really think that I would give you access to my client.

FRANK: As I said, my recommendations will not be prejudiced. I'm just here to find the truth.

[slattery considers this for a moment but does not reply.]

[inside the Office of the Prosecutor. Calvin Smith introduces Frank to two people who have been waiting for him to arrive.]

SMITH: Thank you for coming, Frank. There's some people that'd like to meet you.

[He leads Frank into a room where the couple has been sitting. They rise as Frank and Smith enter the room.]

SMITH: Mr. and Mrs. Andersen, this is Frank Black, the man I told you about. Frank, Mrs. Garry's parents.

FRANK: I'm very sorry for your loss.

MRS. ANDERSON: Mr. Smith says you're going to help us with this. You don't know how important it is to us, that (begins crying) I have nightmares of, of my daughter, my grandchildren. I see it.

MR. ANDERSON: All my life, I've, I've been a father, a husband, a farmer, that's been the trinity of my life. I no longer have that. William Garry's to blame. If you're a good man, Mr. Black, you'll make sure that he pays the price he ought to pay.

SMITH: Thank you. Thank you, both, for coming in.

[Frank steps aside to let the couple pass and looks at them as they leave. Smith closes the door.]

FRANK: Did you arrange that for my benefit?

SMITH: Shouldn't you have an idea of the kind of grief this man has wrought? Frank, in Florida, there are 376 inmates on death row waiting for execution. In California, there are 471. Some of these cases go back 14, 15 years. The blood debt in this state, Mr. Black, is nine. I don't mind telling you, I'm a little concerned about you.

FRANK: I'm meeting Didi Higgens at the crime scene this afternoon. I've got questions.

SMITH: The trial's over, Frank. What I need from you is a profile to put the son of a bitch before a firing squad.

FRANK: Put me before the jury now and I may not be able to do that.

SMITH: William Garry murdered his wife and children. He confessed to it. Meet with Didi, exhaust your questions, but please give me the profile I need by Wednesday morning.

[Frank turns to leave, opens the door to step out of the room.]

SMITH: I understand you met with Mr. Garry's lawyer.

FRANK: (turns back) Yes.

SMITH: Mind if I ask why?

FRANK: He gave me permission to interview Mr. Garry.

[Frank leaves.]

[The prison. Frank goes to interview William Garry. What follows is his account of what happened the night of the murders.]

[We see Gabriel asleep in his bed.]

GARRY: (VO) I bought the elephant for him the day he was born.

[We see Garry standing by the child's bed with a chisel in his right hand. We see only his legs, not his face.]

[Next, we see Garry walking down the flight of stairs, carrying Gabe's body wrapped in a white sheet. The view remains fixed so that as Garry descends, we see his face finally. Then he turns to face the camera and blood can be seen smeared on his face and neck.]

GARRY: (VO) There was no pain, no sorrow - just a kind of dullness after the anger, and the need to finish it.

[Frank can now be seen sitting across a table from Garry in an interrogation room. Garry is wearing a 'Weber County Prison' uniform. A two-way mirror is at one end of the room.]

FRANK: You didn't feel any other emotions during the killings?

GARRY: Just rage.

FRANK: How do you feel about it now?

GARRY: I'm sorry. I feel sorry.

FRANK: Why didn't you let your lawyer plead temporary insanity?

GARRY: I wasn't insane. I was angry, I was in a rage, I let things build up - shame on me.

FRANK: Most murderers fight the charges.

GARRY: Mr. Black, I take responsibility for what I've done. A man makes a mistake, he should pay for it. I was a peace officer for 17 years. If I arrested somebody who did something like this, I would have fought like hell to have them executed because that's what would have been right.

FRANK: You want to tell me why you did it?

GARRY: (sighs) I thought about it for a long time. I fantasized about it. Do you have a wife and family?

[Frank nods.]

GARRY: Oh, you know what I'm talking about.

FRANK: No. I don't.

GARRY: (pauses) There were money problems, bills, more bills. Things were no better with my wife. It got to the point where I hated her. She hated me. You know what it's like to scream in silence 365 days a year? I went in there that night to wipe out my family, Mr. Black, because it was the only way. The only way.

[Frank reaches into an inside pocket of his jacket and removes the wooden angel he'd found in the workshop. He shows it to Garry.]

FRANK: I found this in your garage. It was your wife's birthday the next day, wasn't it?

GARRY: That's right. She liked angels.

[Garry's eyes well up with tears.]

FRANK: So, you use your hands to make a gift for your wife, and those same hands slaughter her and the children.

[Frank turns the angel so that the engraved feet face Garry and the words: 'love Bill' can be read.]

FRANK: And you wrote this. Why?

[Garry turns his head away briefly.]

GARRY: What you have in your hands is a lie.

[Frank places the angel down on the table so that the wings touch the tabletop and the angel, with its hands pressed together in prayer, faces up. He pushes the angel towards Garry who looks at it briefly then averts his eyes from it.]

[Frank then gets up and leaves the room. Perspective has changed to Michael Slattery in the next room who has been watching and listening to the interview through the two-way mirror. Frank walks over and joins him in that room.]

SLATTERY: Fashion an angel for your wife's birthday and then kill the family - happens all the time.

FRANK: He says he felt anger and rage...

[both men continue to look through the glass as Garry is escorted from the room by an officer. As he stands, we can see that he's wearing handcuffs.]

FRANK: ...but the staging of the bodies indicates the killer was calm.

[Later that day, Frank meets with Didi Higgens at the Garry home. They move through the house together as Frank goes over Garry's confession with her and addresses his questions.]

FRANK: Garry says he killed William Jr. here on the stairs.

[They walk down the stairs together as Didi Higgens checks her notes in a small book.]

DIDI HIGGENS: That's correct. There were traces of brown and beige carpet fibers on the boy's pajamas.

FRANK: But Garry also says he killed his youngest, Gabe, in the bedroom... (sighs) ...and carried him down here wrapped in sheets.

DIDI HIGGENS: That's correct. The stains on the sheet the boy was wrapped in matched the stains on the mattress upstairs.

FRANK: But there were traces of brown and beige fiber found on the sheet.

DIDI HIGGENS: (nods) Dr. Geller's feeling was that Gabriel was dragged down the stairs, not carried.

FRANK: Garry said he carried him.

DIDI HIGGENS: It's an inconsistency not uncommon in a murder confession.

FRANK: You agreed with it?

DIDI HIGGENS: I didn't agree or disagree.

[Frank nods, then sighs as he enters one of the bedrooms. He has a vision: William Jr. again as the killer saw him, with the bright light glowing from behind the boy's head; several close up images of the boy's face; a full shot of the boy standing on the stairs, light illuminating from behind the boy's head, with the glass of milk and cookie in his hands; a close of the boy's face, smiling; then several blurred images washed in a bright light, then complete darkness. He hears the boy's voice, in a echo: 'What are you doing?']

FRANK: The wounds on Mrs. Garry's hands...


[Frank raises his right hand and uses his left index finger to reenact the positions of the wounds on his hand.]

FRANK: There were cuts along the fingers and across the palm of the right hand.

DIDI HIGGENS: That's correct.

FRANK: They're defensive?

DIDI HIGGENS: I believe that's how they were described.

FRANK: You didn't examine them yourself?

DIDI HIGGENS: No, I was the assistant.

[Frank removes one of the photos from the envelope. It is the one of the four bodies wrapped in blood-stained sheets before the child's bed.]

FRANK: Mrs. Garry's body was found here.

[He lowers the photograph out of sight and the blood-stained carpet on the floor can be seen.]

FRANK: We know there was incontinence but no urine was found on the carpeting.

DIDI HIGGENS: In Dr. Geller's opinion, the urine simply didn't seep through to the carpeting.

[in the kitchen, they are looking at the photograph of the numbers written in blood on the window. Frank again reenacts the steps Garry claims he took.]

FRANK: According to Garry's confession, he wrote this in blood after killing her and the children - which means, he walked in here covered in blood after killing his family, leaned over to the window and wrote the numbers, and left no blood anywhere else.

[He looks down at the white rug on the floor.]

FRANK: Not even footprints on a white carpet?

DIDI HIGGENS: That's what we're saying.

[Frank steps back, crouches down and lifts up the end of the rug.]

FRANK: I think if you analyze this carpet you'll find it was shampooed. You'll also find urine traces - Mrs. Garry's. She died right here, not downstairs.

DIDI HIGGENS: Are you saying that someone's tampered with the evidence?

FRANK: I'm suggesting someone else committed these murders.

[They leave the house together and get into Didi Higgens' car. Someone is watching them from across the street. It is Deputy Reilly, who is sitting in his car and smoking a cigarette.]

[fade to black]

[polaroid fade up]

[A doctor's office. The scene opens on a close up of a diploma from Montello College in a frame hanging on a wall. It states that an Alice Steele had attained a Bachelor of Arts degree in Psychology. As the door opens to Dr. Steele's office and she enters, we see Frank is the person who has been looking at the diploma. She sits down at her desk. Frank remains standing.]

STEELE: Mr. Black. As I told Mr. Slattery, I can't get into the specifics of why the Garrys came to see me.

FRANK: The woman is dead.

STEELE: That's irrelevant.

FRANK: An innocent man could die.

STEELE: Who, Mr. Garry? A man who slaughters his children and stabs his wife four times, I'd say he deserves to die.

[Frank finally sits down, uninvited.]

FRANK: What if he didn't do it?

[Long pause.]

STEELE: Ask a question. Make it specific. And if I can answer it, I will.

FRANK: Was Mrs. Garry having an affair with Deputy Kevin Reilly?

STEELE: Mrs. Garry was a faithful wife. She was a woman who needed to talk openly about an emotional problem that was tearing at the very fabric of her soul. Now, on the other hand, don't ask me about Mr. Garry.

FRANK: Did they talk to you about having another child?

STEELE: I can't answer that.

[Frank reaches into an inside pocket of his jacket and removes the slip of paper he found in the medicine cabinet at the Garry home.]

FRANK: This is a receipt from the M&W Pharmacy. Mrs. Garry was there that night - for one bottle of cold syrup, and a home pregnancy test.

[He tosses the receipt down on Dr. Steele's desk. We can see a portion of it which shows the purchase of something called 'SURE TEST' and cough syrup.]

[William Garry submits to a lie detector test. Garry is wearing his prison uniform and is wired up to the machine. The examiner has already begun asking her questions and carefully marks the location of his responses to the questions on the paper which records his reactions. Garry is extremely calm as he answers each question.]

EXAMINER: Is your name William Garry?


EXAMINER: Were you a Weber County sheriff?


EXAMINER: Were you at your home on the evening of October 5th, around 9:45?


[Perspective then shifts to another room where the question and responses can still be heard coming through a speaker in the wall and where Slattery, Didi Higgens and Frank stand watching through a two-way mirror.]

EXAMINER: And were your wife and three children also present in the house at that time?


EXAMINER: Do you know who killed your family?


EXAMINER: And was that person you?

[Perspective shifts again to the examination room.]


[Calvin Smith, the County Prosecutor, bursts through the door in the next room where Frank and the others are observing the examination.]

SMITH: What's going on, Frank? Don't you think I should have known about this?

FRANK: I contacted your office.

SMITH: Half an hour ago. That's not good enough, mister.

[The questioning continues. Perspective alternates for the remainder of the scene.]

EXAMINER: Were you feeling rage at this time?


SMITH: Whatever you find in there is inadmissible.

FRANK: That's not important. I wanted to see the truth. I wanted you to see it.

EXAMINER: And were you feeling anger?


[Examination over, Frank checks with the examiner for the results.]

EXAMINER: The man says he killed his family and, according to my results, that's exactly what he did.

[Frank reaches into his pocket, takes out his eyeglasses and puts them on.]

FRANK: May I have a look?

EXAMINER: It's all yours.

[she hands Frank the scroll of paper and leaves the room. He looks at it, lays it out on the table near the machine, then removes his glasses.]

SMITH: Well, you wanted your proof.

FRANK: Garry's suffering from delusions of guilt. Most likely a fixed false belief syndrome brought on by severe depression.

SMITH: So, he agreed to take a polygraph because he knew he would pass? Come on. It's all here in the confession. A man can't make up lies like that.

FRANK: He may be feeling so guilty he's convinced himself he's responsible for the killings. I've seen it before. He answered truthfully the questions about rage and anger because he thought that's what the killer must have been feeling.

SMITH: Yeah.

FRANK: But what the real killer felt is not hate, rage or resentment. He felt love, compassion. He didn't see the victims as victims. He saw them as something else.

SMITH: As what?

FRANK: Angels. That's how the killer saw the children at the moment of their deaths.

SMITH: Angels?

[Frank nods. Neither Didi Higgens nor Slattery say anything but both look pensive, especially Slattery.]

SMITH: You know, in the interest of justice, Frank, I've given you everything you've asked for. I've bent over backwards. Tomorrow afternoon at one o'clock we go before a judge and jury. I'll be requesting the death penalty. Obviously, I won't be needing your services anymore.

[Frank looks at Didi Higgens who seems crushed. Smith leaves the room.]

SLATTERY: Frank, how do you know these things? I don't even know if I believe them.

FRANK: (to Didi) We're going to need another examination of the bodies.

DIDI HIGGENS: That means an exhumation. Smith'll never go for it.

FRANK: We'll go around him.

DIDI HIGGENS: You can't do that.

FRANK: You can.


FRANK: You ask a judge to order it.

[slattery nods his head in consent.]

[Later that night, Frank drives Didi Higgens' car through the rain as they sit without speaking. Frank finally breaks the silence.]

FRANK: I understand this whole thing has put you in a difficult position. Is that what's occupying your mind right now?

DIDI HIGGENS: I was just wondering where I'll be working next week.

FRANK: Your job is to tell the story. To find the truth. Isn't that what you want here?


[suddenly the windshield shatters and a gaping hole is visible as an object has fallen through the glass and into the car. The car skids and the tires shriek as Frank hit the breaks and struggles to maintain control of the car. It scrapes against the steel guard rail on the side of the road as the car drives under an overpass. Sparks fly as metal meets metal. Frank pulls the car around and does a 180 degree turn as he finally brings the car to a complete stop, slamming the rear end against a pylon and smashing the tail light in the process.]

FRANK: Are you all right?

DIDI HIGGENS: I think so. Are you?

FRANK: Whatever it was, it came from there.

[He looks up through the hole in the windshield at the overpass above them. He then reaches down at his feet for the object which was thrown into their car. It's a large oval rock with a word written across it.]

DIDI HIGGENS: What does it say?

FRANK: 'Guilty.'

[At the cemetery, workers have already gathered with a backhoe and other equipment to exhume the bodies of Mrs. Garry and the children. A vehicle from the county coroner's office is present. Some lights have been set up by the grave site as a man raises Mrs. Garry's coffin on a lift by turning a crank. The county medical examiner, Dr. Geller, stands nearby watching the proceedings. He turns when he sees Frank and Didi Higgens pull up in their car. They exit the car and walk over to Geller.]

GELLER: Didi, what in the hell is going on? What kind of judge gives an exhumation order in the middle of the night.

FRANK: A federal judge.

[Frank pulls a folded sheet of paper from an inside pocket of his jacket and hands it to Geller.]

GELLER: Who ordered this?

[He looks at the paper. It is only partially shown on screen and reads as follows: ]




TO: Weber County Sheriff's Office

...to exhume the body of ___Dolores Garry___

...to the Office of the Medical Examiner for...

...return the remains for reburial. It is so ordered...

... ____, 1997 by the Court.

GELLER: (to Didi) This went through my office?

DIDI HIGGENS: Yes, it did.

GELLER: (to Frank) What do you want with these bodies?

FRANK: A re-examination.

GELLER: These bodies have already been examined. I did the work myself.

FRANK: If you have a problem executing the writ, we can have Dr. Higgens do it.

GELLER: (shouts to the workers) Go ahead! Dig them all up!

[A backhoe behind Frank starts up, ready to dig up the children's bodies.]

[The coroner's office where Geller is re-examining Mrs. Garry. Didi Higgens holds a chart in her hands, taking notes and looking on. Frank looks over Geller's shoulder as the man examines the wounds in her chest.]

FRANK: Mr. Geller, if you examine the hand, I think you'll find that the cuts come from an angle - slicing, not puncturing.

[Geller lifts the woman's right hand and spreads it open in his gloved hands to look at the cuts more closely. He looks to Didi Higgens.]

GELLER: We missed that.

[she, in turn, looks at Frank.]

GELLER: I suppose we could consider these slices.

FRANK: Enough to reconsider the term 'defensive'?

[Geller looks at Frank, sighs, then nods.]

[Frank turns and walks over to one of the tables where another of the bodies has been placed. It is the little girl. Only her feet can be seen. The rest of her is covered by a white sheet. She is wearing short white socks and black patent leather shoes. A tag affixed to her ankle. It reads: ]




PIN 91203456890

[Frank walks over to the other end of the table, lifts up the sheet, looks down at the dead child but we do not see her face. He has a brief vision of the girl as she lay sleeping before she was killed. He sees what the killer saw: the girl in bed, cover with a blanket, asleep with a doll beside her, a ring of light illuminates the top of her head like a halo; several images of the child asleep with the halo on her head as some shadows pass in front of the child, including one of someone holding a chisel in his hand; the images alternately are of the child with the halo, then the image is washed out by a bright white light.]

[Frank then replaces the sheet over the girl's face. He turns and looks at Didi Higgens.]

FRANK: I know what happened.

[Frank returns to the prison to speak with William Garry. He has brought with him an enlargement of the photo of the numbers (12815) written in blood on the kitchen window. He again sits across from Garry in an interrogation room and using a marking pen to make lines on the first number '1' to turn it into the capital letter 'I' and pushes the photo towards Garry.]

FRANK: It's not a '1,' it's an 'I' for Isaiah. Chapter 28, verse 15.

[He opens a bible which he's also brought with him.]

FRANK: 'We have made a covenant with death. We have made lies our refuge. And under falsehood we have hid ourselves.' I know what the lies were. You're not the person that committed these crimes.

GARRY: Why are you here? What do you want?

FRANK: I want to help you.

GARRY: To do what?

FRANK: To live.

[Frank closes the folder which held the photograph and the bible, places them neatly on top of one another and moves them off to one side. Garry's attorney, Michael Slattery, is also in the room, watching and listening to the conversation.]

FRANK: Mr. Garry, your wife was pregnant.

[Garry looks at Frank. He seems surprised by the news.]

FRANK: You didn't know that, did you?

GARRY: Of course, I did. I knew that.

FRANK: (shakes his head) No, you didn't. Not even when you picked her body up and carried her downstairs. I'm going to the judge with the truth. But if you don't recant your confession, it won't be enough. The jury's going to sentence you to death. And if that happens, you won't be paying for your sins, you'll be committing suicide. (pause) The temple of God is the body the Lord has given us. He's given it to us to last a very long time.

GARRY: The murderer who deliberately killeth shall die.

FRANK: (nods) Exactly.

[Frank raises his eyes to look at Slattery, then picks up the pen, bible and folder, rises from his chair and heads for the door.]

GARRY: Mr. Black.

[Frank turns to face Garry again.]

GARRY: I am the only one who knows what happened that night - who's responsible. My blood must be shed at the moment of my death. To rob me of my salvation would be sentencing my soul to eternal damnation. Are you so righteous in your beliefs that you would allow that?

[Frank walks to the table again, leans over it towards Garry.]

FRANK: Mr. Garry, I can't let you die for something you didn't do.

[Frank turns again, opens the door and leaves. An officer then appears as Slattery too turns to leave.]

[fade to black]

[polaroid fade up]

[An extreme close up of the photo of the numbers written in blood on the window can be seen. There is a tape measure stretched out under the numbers for scale and a marker had been placed on the window at the time the photo was taken, to record where it was located. The marker reads: 5 (b) KITCHEN' with an arrow pointing up to the numbers above it. Frank, Didi Higgens and Calvin Smith are in the judge's chambers. The photo is being shown to the judge as Frank states his conclusions on the Garry murders.]

FRANK: This is a photo from the crime scene on the night of the murders.




FRANK: The killer wrote '12815' on the window. You'll notice there's no blood anywhere else in the kitchen.

[Frank sits down in a chair next to Didi Higgens. Smith is standing off to one side of the judge's desk. The judge is seated behind his desk.]

FRANK: We took samples from the kitchen rug and found traces of urine in the shampoo residue. In analyzing it, we found high levels of estrogen, indicating an adult female - Mrs. Garry.

JUDGE: You're suggesting the kitchen was cleaned before the police arrived to hide the fact that Mrs. Garry died in the kitchen, not the basement.

SMITH: Your honor, even if Mr. Black's suppositions prove to be true, even if Mr. Garry moved the body after death - what does it prove? It's all circumstantial. You give me a month and I'll have data that'll refute unequivocally every bit of information presented here this morning.

FRANK: A man's life is at stake. Take the month.

SMITH: (to Frank) My conscience is clear with my God. And my responsibility is to the people of this town. (to the judge) I beg you, don't spend their money. Don't burden their emotions unnecessarily. William Garry should die for what he did. This town should move past this.

FRANK: Your honor, I have spent my whole adult life trying to understand how the mind of a killer works - how he thinks, how he feels.

[He places some papers in front of the judge.]

FRANK: William Garry is not capable of doing the things he's been convicted of.

SMITH: Arthur Shawcross killed two people, was paroled after 14 years and then murdered 11 innocent victims before he was caught again.

[The judge is listening to Smith speak as he looks through Frank's profile of Garry.]

SMITH: William Garry slaughtered his family. God help us if we give him a chance to kill again.

JUDGE: (to Frank) Have you taken the court's time just to deliver a psychological profile?

[Frank looks at Didi Higgens who then rises to give her findings on the case.]

DIDI HIGGENS: There were five cuts on Mrs. Garry's right hand that Dr. Geller termed defensive. Here's how they really happened.

[she picks up an aluminum ruler from the desk where it was laying on top of a folder. The folder's label reads: Garry Case # OCT 5, 1996 13966 – AUTOPSY. She uses the ruler to reenact the events leading up to Mrs. Garry's death. She holds it with both hands at one end and places the other end against her chest.]

DIDI HIGGENS: The first two strokes pierce her left ventricle. The third stroke fully penetrates her left atrium, completely disabling blood flow. By the fourth stroke, she has weakened considerably and her hand slides along the blade at this specific angle.

[she has removed her left hand from the ruler and slides her right hand along the ruler, still pressing it against her chest.]

DIDI HIGGENS: The wound penetrates her right ventricle, causing massive bleeding into her pericardium. She dies seconds later.

[she then holds up her right hand revealing black marks left by the prepared ruler along the fingers and across her palm - identical to those found on Mrs. Garry's hand.]

DIDI HIGGENS: If you check forensics, you'll see that these markings exactly match the wounds on Mrs. Garry's right hand.

[Didi Higgens then sits down again.]

JUDGE: Are you asking this court to believe that Mrs. Garry stabbed herself four times in the heart?

[Didi Higgens nods.]

FRANK: A person in her frame of mind would be capable of just about anything. I had a case once where a man stabbed himself 27 times, three times in the heart - and lived.

SMITH: William Garry's fingerprints were found on the murder weapon. The blood of all the victims was found on his clothing and his body.

[The judge at first nods, then leans forward towards Frank and Didi Higgens.]

JUDGE: Why would a mother kill her children?

FRANK: As mad as it sounds, she saw her children as angels and wanted to keep them that way.

[Long pause as the judge glances at the profile and photograph on his desk before speaking.]

JUDGE: William Garry has gone through due process and, quite frankly, nothing presented here this morning would warrant an appeals court to overturn that verdict. What is it you're asking this court to do, Mr. Black?

[Frank looks up at Calvin Smith but does not respond.]

[A retelling of that night's events, as they really occurred. Frank is relating the story.]

[We see William Garry opening a door and entering the house from the garage. He is shaking sawdust from his shirt when he sees... ]

GARRY: Billy.

FRANK: (VO) When Garry came in from working in the garage, the first one he saw was William Jr. lying at the bottom of the stairs.

[Garry goes to his son, kneels beside him and tries to find a pulse. He calls out to his wife.]

GARRY: Dolores!

[He picks the boy up and holds him in his arms.]

GARRY: Billy.

[He again shouts up the stairs to his wife.]

GARRY: Dolores!

[He then sees something off to one side of the staircase, places William Jr. down and crawls on his knees over to the object.]

FRANK: (VO) His youngest child, Gabe, lay in the hallway wrapped in a bloody sheet.

[Garry lifts up one end of the sheet to see what it is. He begins crying.]

GARRY: Oh, Dolores!

FRANK: (VO) He went into his daughter's room and found her dead as well.

[Garry opens the door, face covered in tears and weeping still, enters the bedroom.]

FRANK: (VO) He heard a noise. He ran to the kitchen.

[We see Garry do just that. Mrs. Garry is on her knees, blood is smeared on her face as she looks up at her husband.]

FRANK: (VO) She had killed her angels and now there was only one thing left to do.

[Garry stands by the door to the kitchen as his wife plunges the chisel into her own chest. Garry kneels down in front of her, cradling her head on his shoulder, sobbing.]

[Deputy Reilly continues relating the rest of the story. He and Frank are sitting on the steps in front of Garry's house.]

REILLY: She had stabbed herself three times already. She told Bill it was his fault. She said he made her kill the children and then she stabbed herself one last time.

FRANK: He called you.

REILLY: He'd told me what she'd done. Asked me to come to the house. By the time I'd got there, he'd already wrapped the bodies in sheets.

FRANK: He was a cop. He knew that if her body wasn't found next to the children it wouldn't fit.

[Frank stands up.]

REILLY: He said she couldn't bear the thought of living in a world of adulterers, men like him. It was one night. I know. One night. William Garry's the best man I've ever known. There's nothing I wouldn't do for him.

FRANK: You cleaned the kitchen. You shampooed the rug. Why didn't you clean the numbers off the window?

REILLY: We closed the drapes to clean up. We didn't see them.

FRANK: Mm-hmm. Instead of looking for the truth the people of this town were looking for whatever would put the pain and the blood behind them. That's what they thought they needed. What do you need?

REILLY: I'm a police officer. Six months ago, I broke the law to help my friend. Now you're asking me to betray him.

FRANK: The judge is moving forward. The jury's going to come back with the death penalty. You helped him once. If you are his friend, you'll help him again.

[Frank turns away from Reilly, leaving him still sitting on the steps. He walks toward Didi Higgens who sits waiting for him in her car. She starts the engine when she sees him walking towards the car. He gets in and they drive off.]

[fade to black]

[end titles]

Brittany Tiplady (Jordan Black)

Guest Starring

John Finn (William Garry)

Michael O'Neill (County Prosecutor Calvin Smith)

Sarah Koskoff (Didi Higgens)

Jay Underwood (Michael Slattery)

Steve Bacic (Deputy Kevin Reilly)


Don MacKay (Jack Meredith)

Nicole Oliver (Dr. Alice Steele)

Colleen Winton (Mrs. [Dolores] Garry)

Tyler Thompson (William Garry, Jr.)

George Gordon (Judge Francis Maher)

Karen Elizabeth Austin (Mrs. Andersen - Mrs. Garry's mother)

David Abbott (Mr. Andersen - Mrs. Garry's father)

Norman Armour (Medical Examiner Geller)

Noah Heney (Charles Horvath)

[Nikol Tschenscher] (Mary Garry)

[Cody Shaer] (Gabriel Garry)

Music by Mark Snow

Editor: Stephen Mark

Production Designer: Mark Freeborn

Director of Photography: Robert McLachlan

Associate Producer: Jon-Michael Preece

Consulting Producer: Ted Mann

Co-Producer: Ken Dennis

Co-Producer: Robert Moresco

Producer: Chip Johannessen

Co-Executive Producer: Frank Spotnitz

Co-Executive Producer: Ken Horton

Co-Executive Producer: John Peter Kousakis

Written by Robert Moresco

Directed by Roderick J. Pridy

Executive Producer: Chris Carter

Edited by Libby
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