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Paper Dove

[MLM-121 (4C21)]

Written by Walon Green & Ted Mann

Directed by Thomas J. Wright

U.S. Air Date: May 16, 1997

[Transcribed by Maria Vitale

Edited by Libby]

[polaroid fade up]


[Day, outside a supermarket. A woman, Amy Lee Walker, wheels her groceries to the parking lot and over to her car. A license plate reads: '345-830 Washington, D.C.'. The plate belongs to an old, dusty blue Ford Econoline. Music can be heard blasting from inside the van though its windows are all closed. The woman reaches her car, a dark blue Ford station wagon, tag #: 'TRI-685 Maryland', shuts off the car alarm, and opens the rear hatch and puts her bags inside.]

{Music: Don't you ever feel like you're losing your mind, like you drove it right out of your neck? Don't you ever feel like you don't fit in, like you're heading for a major train wreck? Bigger than a monkey, smaller than mouse, closer than a heartbeat... }

[The view has shifted to inside the van where a man has been watching Amy put her groceries into her car.]

[The view then pans from the radio, to the keys in the ignition which he turns to start the engine, to finally the man without revealing his face. He is naked except for some briefs.]

{Music: Baby, there's a stranger in the house. }

[she gets into her car, pulls out of the parking space and drives out of the parking lot. The van follows her.]

{Music: No one ever told you there was money in the bank or you had to fill your car with gas... }

[At a red light at an intersection, the van pulls up alongside the station wagon, music still blaring from the radio.]

{Music: ...smaller than a mouse, closer than a heartbeat... Baby, there's a stranger in the house. }

[As the light turns green, Amy turns to look at the man in the van before driving away, seemingly annoyed by the loud music.]

[she later pulls into the driveway of her home. She gets out of the car as the van pulls up to the house, loud music still can be heard.]

[upon entering the house, she disables the security alarm by entering her code: '1-0-1-3'. She then begins putting the groceries away. She hears a door open and close and assumes it to be her husband.]

AMY: Oh, hi, honey. I just got home. I'm still putting away groceries. I talked to Angie. We're meeting her and Nelson for dinner tonight but they can't make it till 8:30. So, I thought I'd, uh, fix us a little snack to tide us over in the meantime.

[she opens the refrigerator and takes out some cheese, then some crackers from one of the grocery bags.]

AMY: I've got some really nice cheddar and some of those Finnish crackers that you like.

[she hears a sound like rubber squeaking and turns to find the man from the van who is now dressed in wading boots (they look like a one-piece rubber coveralls with boots) and no shirt. She gasps as he raises his left hand, which holds a Polaroid camera, to his face, snaps it open and takes her picture. The flash from the camera floods the screen to white and the sound of the camera can be heard ejecting the photograph.]

[fade to black]

"And now there is merely silence, silence, silence, saying

All we did not know."

William Rose Benét

[polaroid fade up]


[A rental car pulls up into another driveway. This is the home of Catherine Black's parents. Frank, Catherine and Jordan have come for a short visit. Catherine steps out of the car.]


[she goes to open the rear door to let Jordan out of the car as Frank goes to get their bags from the trunk of the car.]

CATHERINE: Come on, honey, we're here.

JORDAN: Are we going to get to stay here?

[The front door of the house opens and Catherine's parents come out to meet them. Jordan runs to her grandmother, Justine, and Catherine hugs her father, Tom.]


JUSTINE: Oh, sweetie! Look how you've grown!

TOM: Good to see you.

[Frank then shakes hands with Tom as Catherine hugs her mother.]

FRANK: Hi, Tom.

TOM: Frank.

JUSTINE: You look wonderful!

[Justine finally comes over to greet Frank.]

JUSTINE: Frank, you're taking very good care of my girl.

[Tom picks up Jordan and holds her in his arms as Frank hugs his mother-in-law.]

TOM: What about me, huh? Did you forget about me?

JORDAN: No way, Grandpa! I missed you!

TOM: (laughs) Well, you all look great. The rain out there must agree with you.

JUSTINE: I just wish Seattle wasn't so far away.

FRANK: Well, we're going to be here for a whole week.

CATHERINE: Frank even put his beeper in a drawer.

TOM: Oh, that's great 'cause we've got all kinds of plans.

CATHERINE: I thought that Dawn would be here.

TOM: Oh, she called. She can't make it till later. She'll be here for dinner.

JUSTINE: Come on in! You both look starved!

[They all enter the house. Frank sighs as he and Catherine bring in the bags.]

[Later, at dinner, the family is seated at the table. Dawn, Catherine's sister is there, telling stories about the two of them. Another man, Gil, (Dawn's date?) is also present and sits next to her at the table.]

DAWN: And, and there she is, my little sister, barefoot in the middle of Cairo, wearing one of those robes - what was it called?

CATHERINE: A galabia.

DAWN: Surrounded by street urchins. She's gone completely native.

[Tom looks tired and bored, as if he's heard the story once too often.]

TOM: That's how Catherine learned Arabic, Frank, by making herself right at home with the locals.

DAWN: I thought us foreign service brats had an image to uphold.

JORDAN: Mommy taught me how to count in Spanish. Uno, dos, tres...

DAWN: (interrupts) Seville. Another place I won't miss. The heat, dust...

CATHERINE: I loved Spain.

JUSTINE: Frank, don't you travel quite a bit?

FRANK: More than I'd like to, actually.

DAWN: Let's not ask him why he travels. Not during dinner.

TOM: Do you remember the, uh, cultural attache in Karachi - the Texans who got drunk and rode the sacred cow into the market?

[They all laugh.]

[Meanwhile, the man from the van, Henry, is in his garage, putting some gear into his van. He is fully dressed this time: jeans, t-shirt and a camouflage jacket. He folds up his wading boots, sniffing them before placing them inside the van.]

[A black sports car with a racy, noisy engine with a distinctive sound, pulls up in front of the garage. It is immaculate and looks old. Henry walks out to the car. The driver rolls down the window. All that can be seen of the figure in the car are his sunglasses, his sideburns which are long and broad, a moustache and goatee. He is soft-spoken and seems to be in his early to mid 30s.]

FIGURE: Don't you owe me thanks?

HENRY: Hell, yes, old buddy - thanks. Primo. Tatiana, Queen of the Fairies. Worth the rush.

FIGURE: I wanted it done while he was here in the area. He just arrived.

HENRY: I'm with ya.

FIGURE: Photos?

[Henry mimics his Polaroid, with gestures and sounds, pretending to be taking a photograph of the man.]

FIGURE: Enjoy.

[He rolls up the tinted window.]

[Later, Henry can be seen driving his van along a stretch of highway, NW 10. He passes a road sign along the way and begins talking about it to his passenger, Amy Lee Walker. The sign reads: ]



HENRY: You see that? Historical marker. I know 'em all. Every one of 'em. All up and down the state. Battle of Chancellorsville. April 27, 1863. General Robert E. Lee and less than 60,000 men defeated General Joseph Hooker and his army of 120,000.

[He mimics a woman's voice with a thick French-Canadian accent.]

HENRY: Now, you memorize that. The facts, every word. You will be tested. Life is about a test. You must pass the test to succeed.

[He recovers his composure and returns to his normal voice again.]

HENRY: Don't worry. I won't ever do that to you, I swear.

[The camera slowly pans down across Amy Lee Walker's dead body. Her bloody right hand is outstretched and the rest of her body is wrapped in rug with only the back of her head showing.]

[The Miller residence, Frank and Catherine are putting Jordan to bed.]

JORDAN: What time is it in Seattle?

[Frank checks his watch.]

FRANK: Seven o'clock.

JORDAN: No wonder I'm not so sleepy.

CATHERINE: Hey, look who I brought for you.

[she hands Jordan a stuffed bear.]

JORDAN: Oh, my favorite teddy bear. Thank you.

FRANK: I want you to go to sleep, okay, because your grandpa's got a whole bunch of things for you to do tomorrow.


FRANK: Good night.

CATHERINE: Night-night.

[she kisses her daughter and covers her with a blanket. They both leave her room. In the hallway, Frank stops, waits for Catherine to walk near him, reaches out a hand and grabs hold of her wrist.]

FRANK: Long day.

[He twists her around, pulls her close to him, kissing her cheek. They both laugh. Then they embrace and she kisses his neck. ]

CATHERINE: Yeah, did you catch Dawn's little digs?

FRANK: Mm-hmm.

CATHERINE: I'm sorry.

FRANK: Family. Why don't you take a bath, get into bed. I'll see if your parents have any of that Dutch cocoa you used to make me.

CATHERINE: Oh, I appreciate your doing this. I know it's not exactly a vacation.

FRANK: I like being away with you. Makes me feel kind of naughty.

[Catherine laughs.]

CATHERINE: In my parents' house?

FRANK: They still don't know?

[Catherine laughs again.]

[Downstairs, Frank is reading the cocoa package as he warms the milk in a pot on the stove, stirring the cocoa with a spoon. Tom enters the kitchen.]


TOM: It smells good. You find everything you need?

FRANK: A couple of coffee mugs?

[Tom opens a cabinet and takes out two mugs.]

FRANK: You want some?

TOM: No thanks. Frank, I want to ask you a favor. You may remember the Hunzigers. They were at your wedding.

FRANK: He was an officer in naval intelligence.

TOM: Yeah. Well, he's retired now. He's very ill, pancreatic cancer. It's terminal.

FRANK: I'm sorry.

TOM: Uh, four years ago, their only son Malcolm was convicted of murdering his wife.

[Tom sits at the table. Frank joins him.]

TOM: He's currently serving a life sentence. It's looking like C.R.'s going to die without ever seeing him.

FRANK: All prisoners are routinely allowed to visit a dying family member. I could call someone.

TOM: No, that's not the problem. C.R. refuses to see his son. You've seen so many tragic situations, I thought maybe you could give him some perspective on this. It's hard on Adele. It's obvious to everyone Malcolm committed this horrible crime but she still clings to the hope that he's innocent. If C.R. would just see him, make some kind of peace with him.

FRANK: I could tell him that every day of his son's life is punishment. He shouldn't be punished from beyond the grave.

TOM: Have you got some time tomorrow morning?

FRANK: Yeah.

TOM: Well, we could go around then?

[Frank nods.]

[Night. Meherrin National Park, a camping grounds open to the public. Henry's van pulls into the entrance by a ranger station. A sign on the station reads: 'MEHERRIN NATIONAL PARK - MID VALLEY CAMPGROUND'. A ranger comes out and walks over to the van.]

RANGER: Good evening.

HENRY: I'll need a campsite till Friday.

[As the ranger checks a clipboard, the perspective changes to the inside of the van where we see Amy's dead body is in the same position it was earlier, only this time we can see her face. This is, however, still out of the ranger's line of vision since he is unable to look into the van.]

RANGER: Pretty early in the year for most folks. Got your pick.

HENRY: That's why I'm here.

[He looks at another ranger giving some other campers instructions and directions. The ranger hands him some papers as Henry hands over some money.]

RANGER: Regulations are on the back.

HENRY: (nods) I know the drill.

[Henry pulls away from the station and drives off to a campsite.]

[Later we see him smoothing out some dried leaves on the ground with his hands, on his knees. He talks to himself as he does this.]

HENRY: (whispering) Okay. Just right. Okay.

[He stands up and walks over to where Amy is lying, still wrapped in the rug. He yanks one end of the rug so that she rolls out from it. He then takes a sprig of flowers and tosses it near her head before lowering her arm to her side and covering her face with a sheet of plastic, lifting her head up to tuck the ends underneath. He covers her body with dried leaves. Then he sits beside the body and sings to it.]

HENRY: Frere Jacques, Frere Jacques. Dormez vouz? Dormez vouz? Sonnez les matines, sonnez les matines. Ding, dang, dong. Ding, dang, dong.

[fade to black]

[polaroid fade up]

[Morning. The Hunziger residence. Frank, as he promised his father-in-law, is visiting C.R. Hunziger, who lies on the living room couch. The scene opens with a shot of a photograph of Malcolm Hunziger, in his navy uniform. C.R. has trouble breathing and uses oxygen. Tom Miller is also present.]

C.R.: I know all about you - the things you do - from Tom. He talks of you like you're an ace, a superstar. So, why don't we cut to the chase. I know Adele must have twisted Tom's arm to get you here.

FRANK: The authorities are prepared to grant your son Malcolm a leave privilege to see you.

C.R.: Malcolm who? Now, Malcolm's no son of mine. I mean, do you have any idea what that diseased garbage did?

FRANK: I know what he was convicted of.

C.R.: The dinner she cooked for him was sitting on the stove while he butchered her. I mean, with all your expertise, do you think someone like that has human feelings?

FRANK: I've known men that have committed violent crimes to feel remorse.

C.R.: So what? Who cares what those animals feel? I mean, do you?

[Frank doesn't respond.]

C.R.: I didn't think so. Tom, you're wasting Frank's time here.

[As Frank and Tom get ready to leave, Adele enters with large folder.]

ADELE: I, I know you didn't come here to go over Malcolm's case, but - these are the defense records.

[she hands Frank the folder.]

ADELE: Please, just look them over. I don't want to see him die like this. I want him to know what I know - our son is innocent.

FRANK: I understand, Mrs. Hunziger. I'll go over these as quickly as I can.

[C.R. calls from the other room.]

C.R.: Adele?

ADELE: I know in his heart, my husband wants to believe in Malcolm's innocence more than anything in the world. I just want to make it possible.

[Frank smiles at her.]

[The campground. A family, the Scammels, prepare to go to their campsite. The father, Rick Scammel,

finishes loading the rear of their vehicle with their belongings and they get in and drive off. Henry drinks a cup of coffee as he watches them leave.]

[He returns to his own campsite where he's pitched a tent. He places the cup down and heads off to where there is a large pile of leaves gathered on the ground. He bends over the mound (Amy's body) and speaks to it.]

HENRY: They're gone now. We can talk again. It's so good to have someone who listens.

[back at the Miller residence, Frank is sitting at a desk, looking over the records Mrs. Hunziger has given him. Catherine enters the room.]



CATHERINE: How'd it go?

FRANK: Your father's friend is not a very easy man.

CATHERINE: I know. You know, my dad'll understand if you just want to drop this and enjoy yourself.

FRANK: In all fairness, I'd like to check a few things out, if you don't mind, before I let this go.

CATHERINE: Dawn's taking us sightseeing. (sighs) I'll miss you.

[she walks behind Frank, puts her arms on his shoulders, across his chest and places her chin on the top of his head.]

FRANK: Catch up with you later. It won't take long.

CATHERINE: You promise me that you'll try to enjoy yourself while you're here?

FRANK: I promise.

[she kisses his forehead and sighs again.]



[Frank visits Malcolm Hunziger in prison. They sit across from one another in cubicles, a glass partition between them. They communicate using telephones. Two guards stand behind Malcolm.]

MALCOLM: You must have some juice to get a visit out of hours.

FRANK: Your father's dying, Malcolm. Would you see him, if it were possible?

MALCOLM: I'm innocent. My father doesn't believe that.

FRANK: He'd like to.

MALCOLM: I loved my wife. What he thinks about me dishonors that.

FRANK: I'd like to hear your story of what happened.

MALCOLM: You've read my statement.

FRANK: I want to hear it in your words.

MALCOLM: (smiles) Am I being profiled?

[Frank stares at him, removes the phone from his ear and lowers it down to the table. Malcolm gestures for him to return the phone to his ear which he does.]

MALCOLM: She always had dinner waiting when I'd come home. I'd try and guess what it was by the smell. I called out 'pot roast.' I was smiling. I went in to the kitchen and she was on her hands and knees on the kitchen floor, these horrible sounds coming out a hole in her throat. But she spoke with her eyes. Oh, Jesus, the fear. I was frantic. I, I grabbed her and carried her out to my car. We'd only lived there a few months. I didn't know where a hospital was. I just pulled over to the side of the road and held her. That's how the cops found me - holding her.

[Frank lowers the phone again, sits back in his seat and looks at Malcolm through the glass.]

[Day, a park. Many children are playing in the playground. Jordan is also there coming down a slide. Catherine and Dawn cheer her on.]

JORDAN: Mommy, look at me! Weeee!

[Catherine claps as Dawn films the scene with a camcorder.]

CATHERINE: Yay, Jordan!

DAWN: (pointing the camera at Catherine): Okay, do something funny.

CATHERINE: Oh, I have nothing.

[she laughs and turns her back on her sister and begins walking away. Dawn follows her.]

DAWN: Come on, mom insists that I tape every instant you're here.

[Catherine turns and waves at the camera.]


[They both laugh and give up the idea. They sit on a park bench instead. Catherine keeps a careful eye on Jordan, still playing on the slide.]



DAWN: It's great to be face to face with you, Cath. You always seem so distant on the phone.

CATHERINE: I seem distant?

DAWN: Yeah, I don't know, lonely.

CATHERINE: I'm not lonely. I, I have friends. I have Frank, Jordan.

DAWN: Well, you may talk to Frank and he may listen but is he really hearing you?

CATHERINE: You watch too many daytime talk shows.

DAWN: I'm your sister. I notice things.

CATHERINE: (shouts) Jordan, be careful on the slide!

DAWN: Look, this is your first vacation in years. Where is he?

CATHERINE: He's doing a favor for Dad.

DAWN: Yep, always some noble thing.

CATHERINE: I don't know where this is coming from.

DAWN: (snaps) It comes from seeing you unhappy.

CATHERINE: I'm not unhappy. I love Frank. We're both happy.

[Jordan coming running up to them both. A car's engine can then be heard starting in the background.]

JORDAN: Mom?! Can we stay here a little longer. It's fun here. Isn't it fun here?

[Catherine smiles at her and she runs back to play again. The car can be heard driving away. It had the same distinctive sound the earlier car did.]



[Frank meets with three FBI agents: Kane, Devlin and Emmerich, about Malcolm's case in a conference room.]

AGENT KANE: Fingerprints in her blood all over the kitchen, her blood all over his clothes, on his shoes, in the car. When they found him, he claimed he was taking her to the hospital. There was no hospital anywhere near where he was headed.

AGENT DEVLIN: Prosecutor slam-dunked. They even got a semen sample that matched his blood type.

FRANK: She was his wife, after all.

KANE: Well, the jury didn't buy it, why should we?

FRANK: Hunziger doesn't fit my profile on this case.

[Devlin hands Emmerich a profile which he then begins skims over.]

FRANK: 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.

AGENT EMMERICH: So, he's not a loser who wet his bed and tortured his Easter bunny.

[He tosses the profile down on the table.]

AGENT EMMERICH: 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: (nods) Okay, we'll give you what we have.

FRANK: Thank you.

DEVLIN: Frank, can I ask you something about the Millennium Group?

FRANK: Yeah, sure.

KANE: (jumps in) Of course, we admire your effectiveness and envy your lack of bureaucracy.

[Frank smiles.]

EMMERICH: (adds) And don't forget the money. You must be knocking down a fortune in the private sector.

FRANK: Not yet.

DEVLIN: (resumes) Everybody's got a theory on the increasing violence in our society.

EMMERICH: My wife thinks it's the artificial hormones in beef.

DEVLIN: (chuckles) 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: (pauses) I don't think it's the beef.

[Night, the Mid Valley Campground. A woman, Carol Scammel, comes out of a public restroom on the grounds carrying a load of dishes and cooking utensils she has just washed. She carries them out to her car and puts the load into the rear of the open vehicle. Suddenly she notices a man standing close by. She gasps in fear. It is Henry, whose van she had walked past on her way to her own car.]

CAROL: Oh, you startled me.

[she is wearing shorts, a shirt and a jacket. She becomes self-conscious, pulls the jacket closed and folds her arms across her chest. Henry doesn't say a word, just stares at her.]

CAROL: Are you camping here?

HENRY: My campsite's over there.

[He gestures with his head, indicating it is to the right.]

[The woman's son, Nick, runs up with an injured hand.]

NICK: Mom! I cut myself.

CAROL: What?

NICK: I was cutting kindling and the axe slipped.

CAROL: Okay, okay. Hold still, Nick, let me see.

[she looks at the boy's hand and hurts him a bit. Henry looks on and moves closer to look at the boy's hand as well.]

CAROL: Oh, sorry, that doesn't look too deep. I'll just get the first-aid kit.

HENRY: (to Nick) My name's Henry. Mind if I take a look?

NICK: Go ahead.

[The cut is on the boy's left palm.]

HENRY: That's some cut. You're pretty brave about it. Here, I can take care of this, Nick.

[He begins taking supplies from the first-aid kit, which the boy's mother holds for him, and applies it to the boy's hand.]

HENRY: Just clean out any dirt that might have gotten in, a little antiseptic...

[He blows on the boy's hand to relieve the stinging from the antiseptic.]

HENRY: ...bandage.

[He places a sterile pad on the boy's hand and wraps gauze around the hand to hold it in place.]

HENRY: Nice little wrap, there we go. And bob's your uncle. You are healed, me boy.

NICK: Thanks, mister.

CAROL: You're awfully good at that. Are you a doctor?

HENRY: (shakes his head) Just an outdoorsman. Well, it's getting late.

CAROL: Yeah, maybe we'll see you again.

HENRY: (pauses) You never know.

[Meanwhile, at the Miller residence, in Frank and Catherine's bedroom, both are in bed, having just made love. They are without clothes and covered by a sheet. Frank lies on his back with his wife in his arms, her head resting on his bare chest.]

FRANK: I really missed you today.

CATHERINE: I feel so safe lying here like this with you.

FRANK: Yeah, I know. Worlds apart.

CATHERINE: It's good for us.

FRANK: Yeah.

CATHERINE: Can we stay like this forever?

FRANK: (nods) Live on fast food. Get our exercise the old-fashioned way.

CATHERINE: (chuckles) Yeah, until Jordan wakes up.

FRANK: What were you and Jordan up to today?

CATHERINE: Um, the Air and Space Museum, and then to the park where Dawn unburdened herself about our marriage.

FRANK: Our marriage?

CATHERINE: I, I don't know what she's doing when she does that - trying to fix my life, when it doesn't need fixing.

FRANK: She's got problems of her own.

CATHERINE: Yes. Finally told her how to work them out.


CATHERINE: Just like we just did.


[They kiss as she caresses his face.]

[back at the campgrounds, Henry once again 'chats' with Amy.]

HENRY: When we came down from Quebec, I was ashamed of my accent so I worked hard to lose it.

[Amy can be seen beside him. The leaves and the plastic have been removed. She lies on her back, eyes closed and her throat has a visible gash in it.]

HENRY: I wanted to talk like a country music D.J., you know.

[He begins speaking in a thick country drawl. Perspective shifts to somewhere off to the side of where Henry and Amy are located. Someone is watching and listening.]

HENRY: 'Here's a fine ol' Hank Williams for all you broken hearts out there. '

[He laughs, then returns to his normal speaking voice.]

HENRY: I wanted to be a D.J. She, she wouldn't let me. No, I had to be what she wanted. But you know all about that. I reckon you heard my whole life story, huh?

[A click is heard, a flash of light, as the unseen person by the tree takes a Polaroid of Henry with Amy. Henry isn't startled by this. He just looks over, recognizes the man and greets him.]

HENRY: Oh, hi.

[We then see the man, still holding the camera up to his eye, lowering it, revealing the familiar sunglasses we saw him wearing earlier in his car.]

HENRY: (looks at Amy) She's a good listener.

MAN: Enjoy.

[He turns and walks away.]

[fade to black]

[polaroid fade up]

[Morning, the campgrounds. Henry still is at his campsite. He sits in his van, with the door open, listening to the news on the radio. On the table, amongst his other provisions, there seems to be a bottle with a pacifier.]

RADIO: In Hagerstown, police authorities are still puzzling over the disappearance of Amy Lee Walker who has not been seen since Thursday. There was no evidence of a break-in at the Walker home.

[Henry shuts off the radio.]

HENRY: (to himself) Might be time for Amy to go home.

[back at the Miller residence, the family is outdoors preparing for a barbecue. Gil, from the family dinner earlier, is again present as he tends to the grill. Dawn is also there. Catherine and Jordan are seated at a table. Justine brings out some napkins.]

JORDAN: Is it time yet, Mommy?

CATHERINE: Not yet, sweetie.

DAWN: What's she so anxious about?

CATHERINE: I'm going to call the kennel where Bennie is boarding. They're going to let her talk to him on the speaker phone.

DAWN: She's so devoted to that dog. Is that a good sign?

JUSTINE: (to Catherine) She'd be very devoted to a little brother or sister.

[Catherine doesn't reply but acts as if she's tired of hearing this same suggestion made yet again.]

JUSTINE: Okay, I won't say another word, I promise.

[Catherine rises from the table.]

[Frank is inside the house looking at photographs from a crime scene. One of them is the close up of a woman's head with a marker labeled 'D' beside it. There are leaves around the head and some on her face. There is also some kind of tape placed over her throat. He looks up and sees Catherine through the window walking towards the house. He puts the photos inside an envelope as she enter the room.]



CATHERINE: What's that?

FRANK: It's some information I requested from Quantico. I don't think Malcolm Hunziger killed his wife.

CATHERINE: Frank, that's incredible.

[Frank smiles and nods.]

CATHERINE: You going to tell his parents?

FRANK: I have to be absolutely certain. I think that when Malcolm came home, he interrupted the murder. That was probably the murderer's first time. He was frightened.

CATHERINE: He's still out there. How many more has he killed?

FRANK: Four in this general area. I'm going to have to do some more work on this before I turn this over.


FRANK: Tomorrow.

CATHERINE: So, you're not going to go with us to the Smithsonian.

FRANK: No. I have to check on a crime scene that's three years old.



[Day, the woods, sunlight streams through the trees down on the ground. Frank and Ranger Chet walk through the woods as the ranger shows him the surrounding area and the crime scene location.]

FRANK: He prefers fall and late winter. No victims were found in the summer.

RANGER CHET: Yeah, it was a cold rainy day when we got a call from this hiker. I was surprised anyone was out in the woods.

[Frank stops walking.]

FRANK: A hiker called. That wasn't in the police report. Was he interviewed?

CHET: He, uh, didn't give his name. Just said his boy thought he'd seen a body and, uh, gave us a general area. We get calls all the time - people seeing bears, wolves, even mountain lion. Most are kooks. (points) There, there's the place. Right there at the base of that stump.

[Frank moves towards the stump.]

CHET: Damn, it still makes a shiver run up my spine.

FRANK: There's a very thick carpet of leaves here.

CHET: Yeah, nearly to your knees in the fall. She was about, uh, halfway exposed, but covered with uh, uh, a clear plastic ground cloth.

[Frank crouches down near the spot.]

FRANK: He picked this spot for the leaves.

CHET: He knows something about these woods. Twenty yards in either direction, the slope's too steep to build much litter. Have to go way down the slope towards the creek.

[Frank picks up a handful of leaves and it triggers a brief vision: a woman, lying amidst the leaves; blood everywhere covering the ground; a close up of the woman's face, her eyes closed, then they open - she is still alive; a flash of white light, as from a camera flash; she again is seen with her eyes open, a slight smile on her lips and something covering her throat; then two more flashes of light. The sound of gurgling can be heard throughout. End of vision.]

FRANK: No, he needed her close to the campsite.

CHET: What, he just didn't dump her and go?

FRANK: (shakes his head) No. He spent time with her. She listened while he talked.

[Henry can be seen carefully removing the leaves from Amy's plastic-covered face at his campsite.]

HENRY: Ah! Summer's coming. Hot weather's no good for me. Tourists. Flies. Don't worry. There won't be any flies on you. You've done your part. Now, I'll do mine.

[He lifts the plastic from her face. The wound in her throat where her larynx has been removed can be seen.]

HENRY: Wow. You're fine. That's fine. Yeah, you'll be fine.

[He lifts her, props her up in front of him while still on his knees on the ground. Takes his Polaroid camera, sets a timer on it and places it on a nearby tree stump. As it beeps, he poses himself with the dead woman in his arms. Sound of the picture being taken is heard and the flash takes us directly into the next scene.]

[back at Quantico. Frank and the agents are discussing the other cases which Frank thinks may be related to the Hunziger case. Several crime scene photos of the dead women are pinned to a board.]

KANE: So you think Hunziger'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 Hunziger'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? (shakes his head) 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.

[As Frank describes the victims, their photos can be seen on the board. Each of the photos show the bodies as they were found, with various police lines and evidence markers placed around them.]

FRANK: 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.

[The agent walks over to a map which is also pinned to the board beside the collection of photographs and points to the area where Amy was taken.]

FRANK: The parks are empty and the weather's getting warmer every day. This may be his last chance before summer. The first one was down here in Virginia, near Lynchburg.

[A close up of the map is shown with small red flags marking where each of the bodies were found.]

FRANK: Then he moved northward, along the campsites of the Appalachian Trail. The next should be somewhere up here.

[He circles an area with his hand on the map.]

DEVLIN: That's a big area, Frank.

FRANK: He'll phone it in. He won't want to leave her out here alone.

[Night, very dark. Various park rangers, the three FBI agents and Frank, are at a new crime scene where Amy Lee Walker's body has been found. Lamps have been set up to light the area so that the men can do their work taking samples, photographs, etc. Police lines mark off the immediate crime scene area. The agents and Frank are guided through the darker areas with flashlights. Radio chatter can be heard.]

DEVLIN: We missed him. An hour ago, a local newspaper got the call. A man claimed he came down here to go fishing. Thought he saw something but was afraid to get close. No name.

FRANK: He'll be watching the news, waiting for word that we found her.

[Henry's home. We see the following through his POV. He opens the door and enters the house. We hear his mother, Marie France Dion, humming to herself somewhere in the house. He looks into the living room but she's not there. He proceeds through to the kitchen and finds her cleaning the counter. She is wearing heavy yellow rubber gloves. End of Henry's POV.]

[she notices him enter the room, stops her cleaning and walks over to him. Henry looks]

MARIE: Oh, our little man cabbage! Where have you been? Oh!

[she puts her arms around his neck and hugs him.]

MARIE: Sometimes a mother knows, eh? Yes, my big brute. I know where you go.

[she leads him over to the table and sits him down on a chair.]

MARIE: With those girls, I bet, eh? Yeah, you like those girls that got that yellow hair, eh?

[she wraps her arms around his neck again and kisses him on the cheek.]



MARIE: Oh. (laughs, then sighs) Not so much for you working, eh? No. All my effort, make you learn.

[He listens silently to her go on and on. His face is emotionless, but the resentment is slowly building inside him. She removes her gloves and keeps talking without skipping a beat.]

MARIE: You think you get high grade, without me? No. You think you become a registered nurse without me teach you? No. You learn. Now you have license to be nurse. But you don't work. Argh!

[she slaps him lightly on the shoulder with the gloves. She walks over to the refrigerator.]

MARIE: They call. There is a job for you.

[she takes a piece of paper that had been pinned to the freezer door with a magnet and brings it over to Henry.]

MARIE: Here are ten little chores for my big, hairy boy.

[she hands it to him and pinches his chin.]

MARIE: So, where did you go?

HENRY: To the Trail.

MARIE: I teach for you that love for nature that God give us so free! Your father, he didn't love that. He didn't want to go hiking - never!

[Henry gets a mournful look on his face at the mention of his father.]

MARIE: (laughing) Yeah, God took him early to his grave for that!

[she returns to the refrigerator, removes a plate of food, brings it over and places it before Henry on the table.]

MARIE: Oh, look. Ah! I made this with love. You eat it...

[The plate contains a pork chop; mashed potatoes with gravy; and carrots and string beans.]

MARIE: ...then you call your friend.

HENRY: He called?

MARIE: Yeah, he called.

[she brings him a knife and fork wrapped in a napkin.]

MARIE: He say he has lens pictures.

[That brings a smile to Henry's face.]


[she laughs and hugs him again.]

MARIE: Ah! My big shutterbug!

[she kisses him several times on the cheek. Henry doesn't seem to mind this time - he's thinking of those pictures.]

[fade to black]

[polaroid fade up]

[Day, the home of an elderly patient, Mrs. Steinberg - the job Henry had been called to do as a visiting nurse. A table is located near the old woman, littered with prescription medication bottles, a cup of coffee and a glass of water. A figure in black stands behind the woman, near a door frame. It is the same man with the sunglasses earlier. The woman seems senile and unaware that anyone other than Henry is in the room.]

HENRY: (to the Figure) I'm not worried about it. They'll find her. It's tough terrain, but the area I told them is under a couple of hundred acres. (to Mrs. Steinberg) You have to take two yellows and a blue.

[He hands her the pills and the glass of water.]

HENRY: Now, you be a good girl and swallow for Henry.

[The old woman does as she's told.]

HENRY: (to the Figure) She was a listener, like you. Here. Check these.

[He hands the Figure the Polaroids he took of himself with Amy.]

[The first shows Henry playing peek-a-boo with Amy, covering her eyes.]

HENRY: (to Mrs. Steinberg) You okay down below, Mrs. S., hmmm? You make a tiddle? A big job? Need a change?

[He tries to pull away the blanket covering her legs but she resists.]

HENRY: (to the Figure) I want those back. They're my originals. I'll give you your copies the usual way.

[He takes the photos back and looks at them again, showing some of them to Mrs. Steinberg.]

HENRY: I feel good. I, I don't feel lonely, Mrs. S.

[He looks at the one where he covered Amy's eyes.]

FIGURE: I got a new batch.

[He hands Henry a yellow envelope. Henry takes it and removes several Polaroids from it. The woman is completely obvious to the conversation around her and contributes her own irrelevant monologue.]

MRS. STEINBERG: I like to take the bus. You meet people.

[Henry looks at the pile of photos. The first two are of young women, one standing by a fence, the second getting out of a blue car. The third is of Catherine and Jordan at the park.]

HENRY: Now, these...

FIGURE: That's his wife.

MRS. STEINBERG: I never liked Scotland. Too cold. Too many drunks.

HENRY: (shakes his head) Too bad. These aren't right. I can spot a listener.

[He replaces the photographs in the envelope and tries to hand it back to the Figure.]

FIGURE: Keep them. You never know.

HENRY: They'll work for someone.

FIGURE: Yeah. There's always someone.

[He then turns and leaves the house.]

MRS. STEINBERG: In Scotland, a drunk man threw up in my handbag! (whimpers)

HENRY: Sad what age does.

[He turns his attention to the TV, which is turned on but the volume is set very low. Mrs. Steinberg continues to speak.]

MRS. STEINBERG: Oh, I've done a lot of things, all right.

[Henry gestures with his hand for the woman to stop talking. She begins giggling.]

HENRY: Shh! Shh! (shouts) Shut up, you crazy cow!

[He reaches for the remote control and raises the volume. He crouches down in front of the set to watch a news report.]

{KANE: Vocal patterns indicated the caller was a nervous, timid type, likely a physical coward. }

[The TV screen is shown. A station call sign is at the upper left-hand corner: 'WQUA 6'. The lower left-hand corner reads: 'LIVE MERRLEE THOMAS Meherrin National Park.' ]

[FBI Special Agent Kane is being interviewed. Several lamps have been set up behind him to illuminate the area for the search there.]

{KANE: He also used certain turns of phrase current in the D.C. area gay community. }

HENRY: I'm a queer?

[He is getting more upset by what he hears and moves closer to the TV set each time he speaks.]

{MERRLEE: And you're convinced this call was a hoax? }

{KANE: No question. We've called off all search efforts. The caller's thoughts were poorly organized. It might have been someone mentally-handicapped or was forced to make the call as a prank. }

HENRY: I'm a moron?

{KANE: Unfortunately, it's cost us a lot of time and effort and our investigation into the disappearance of Amy Lee Walker will continue till she's found. }

HENRY: (very upset, shouts) What?! You haven't found her yet?!

{MERRLEE: Thank you, FBI Special Agent Kane. I'm Merrlee Thomas for the 'It's Happening Now News'. Back to you, Bob. }

[Henry turns off the TV set. Tosses down the remote, picks up the phone and punches in a phone number.]

HENRY: Special Agent Kane? No emergency. A mentally-retarded, homosexual would like to speak to him, if he has a minute.

AGENT: I'll put you right through.

[Kane, Devlin, Emmerich and Frank are in the same conference room at Quantico. The agent who answered the phone places the call on the speaker so that they can all hear the caller. There's a Caller ID box next to the phone. The number shown reads: 'CALL IN PROGRESS 212-555-0163.' Camera alternates between the FBI room and Henry throughout the phone call.]

HENRY: Kane, 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 on the street corners.

[Kane interrupts Henry, despite Frank's gesturing to try and stop him from doing so.]

KANE: You're misunderstanding me.

HENRY: (shouts) Do not talk to me! (more calm) 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, while you and Frank Black - you stake out the gay bars waiting for some slightly stupid-looking queer.

[He slams down the phone.]

[At Quantico, an agent writes down the phone number that Henry called from and hands it to Kane. It reads: '212-555-0163.']

FRANK: He's got an obstacle to overcome.

KANE: He's calling from a private residence.

FRANK: We'll catch him because he wants to be caught. But he'll try to kill again first.

[Henry is back at home. There's a close up of his mother's mouth, speaking.]

MARIE: Henri? Here is that nice, hot luncheon meat. You got to get the protein, my big, strong boy, because...

[she brings over a plate of food and places it before him at the table.]

MARIE: ...I give you the list to do yesterday, eh? Just a few things. Your mama, who loves you very much, ask you for a few things, eh? Yeah.

[The plate contains mashed potatoes with gravy; mixed vegetables: peas, carrots, string beans, corn; and three slices of fried SPAM (SMEAT).]

MARIE: Move that TV, clean out your animal traps and two things I can't recall.

[she looks down at the table and notices a fork is there but the knife is missing so she goes to the drawer, gets one...]

MARIE: Oh, but you don't do the work, my boy.

[ ...and she wags the knife at him before placing it down beside the fork.]

MARIE: There, now, eat! Come on, Henri, eat. It's hot.

HENRY: Not now, Mom. I've got another job. I have to get ready for it.

MARIE: (very upset) I only ask you once a long while, Henri. (shouts) Just a few things, Henri!

[He ignores her and leaves the kitchen. She continues to shout after him.]

MARIE: Just a few things!

[He is then seen in what appears to be the garage. A large woodpile lies under the window to his right. He is standing before a cabinet, the right door of which he's already opened. He then opens the left door revealing hundreds of Polaroids he has pinned on display there. All are of various shots of different women which, presumably, the Figure has taken and given to Henry. The camera pans across many of them, showing a few remaining empty spaces yet to be filled. Henry then picks up the most recent batch of photos the Figure has given him: of Catherine with Jordan at the park. He holds up and stares at the photo.]

[Later that night, at the Miller residence, Catherine is sitting in the living room reading a book when the phone rings. She answers it but no one speaks.]

CATHERINE: Hello. Hello? Who is this?

[The caller hangs up. The dial tone can be heard. Catherine then hangs up the phone and turns off the lamp on the table beside her.]

[Frank, Kane and Devlin drive up to the address from which Henry made his phone call to the FBI: Mrs. Steinberg's residence.]

KANE: (to Devlin) Are you sure this is the address?


KANE: Pretty up-scale.

[Frank presses the door bell.]

[inside, a female nurse is now attending Mrs. Steinberg. The old woman can be seen lying on the living room couch in the foreground.]

NURSE: (to Frank) I relieved Henry. Henry Dion. Has he done something wrong?

FRANK: Can you provide us with an address for Henry?

[she nods and goes to get the address for him.]

[Meanwhile, back at Henry's house, he returns home. His mother is in the kitchen washing dishes, again wearing those yellow rubber gloves. She hears him come in and calls out to him.]

MARIE: I hear my little man out there.

[He hears her but does not answer, trying to avoid seeing her instead by heading towards another room.]

MARIE: Henri? Henri? Come in here and see your darling mama.

[Henry stops, turns and heads for the kitchen, as told.]

[she dries off her gloves and then picks up the same piece of paper with the list of chores she has several times asked him to do. She brings it over, waving it at him.]

HENRY: Later, mom. Promise.

MARIE: Oh, sure, you promise, but how you keep when you don't know what you promise? You got to read the list, my little man.

[Henry is trying to restrain himself, remaining stone-faced throughout.]

HENRY: Okay. I'll do it when I get back.

MARIE: Don't make me get that wooden spoon, Henri.

[she tosses the paper down.]

MARIE: You know you hate that wooden spoon. You do it now and then I know it's done, you don't forget. Oh, don't look so glum, my little man, eh? I know how to make you smile, eh? I know how to cheer you up.

[she puts her hands, still gloved, to his face. Henry tries to shake his head but she just pinches his cheeks back to force a smile. ]

MARIE: Yeah, yeah, yeah. (laughs) Look at that! That never fail to work! Good, now. Now, you give for me a big, big hug, come on, my big boy.

[she hugs him, still chuckling as he pulls a steak knife from his pocket and stabs her several times. She screams and falls.]

[Outside, several local police, FBI agents, including Kane, Emmerich and Devlin and Frank are just arriving. Several of them run up to the front door. Frank makes his way to the door and taking care to remain out of the line of fire, reaches over and opens the door.]

[Kane enters first, his gun drawn and ready. The other agents and officers enter the house next, as does Frank.]

[They move through the house till they reach the kitchen, following the noise of the sink's garbage disposal. On the floor we can see Henry's mother's body, a pool of blood forming around her. She is only partially visible behind a cabinet - her legs and lower torso can be seen, her arms by her side, but not her head. Her shoes have been removed and sit neatly nearby.]

[Frank move aside Kane's gun and walks into the kitchen.]

[Henry is sitting on the floor across the room with his back resting against the by the stove. He looks exhausted but completely relaxed and does not move as anyone enters the room. A large pair of bolt cutters can be seen on the floor as well as some part from the disposal unit assembly that Henry must have removed in order to place whatever portion of his mother's body he put into it.]

FRANK: Henry Dion.

HENRY: Uh-oh.

[Henry's face can be seen. It is smeared with his mother's blood and his head is resting on his shoulder.]

[Other officers draw closer to the kitchen and look at the floor. There is a trail of blood leading from the body to the bolt cutters. Since Marie's head is never shown and the pool of blood seems to be coming from that area, it must be the body part which was placed in the garbage disposal.]

[Frank starts to move slowly towards the disposal's shut-off switch. Henry looks at Frank, raising his head slightly, recognizing him.]


[He smiles and raises his head further. Frank cautions him not to.]

FRANK: Uh-uh. Don't move, Henry.

HENRY: (shakes his head) I won't move.

[Frank reaches over and turns off the unit. A couple of officers go to Henry, move him away from the wall in order to cuff him. He looks up at Frank.]

HENRY: She's dead. The important thing is we finally came to understand each other, isn't that right, Frank?

[Frank stares at him, then looks away in disgust.]

KANE: Let's get him out of here.

[it takes two men to lift Henry to his feet.]

[The Hunziger residence. Catherine, Jordan and Frank have to visit one last time before leaving for home. They all stand in the foyer. Adele Hunziger offers an origami paper dove to Jordan who shows it to her mother.]

JORDAN: Oh, Mommy, isn't it beautiful?

CATHERINE: Yes, it is. It's lovely.

JORDAN: (to Adele) Thank you.

ADELE: Origami - it relaxes me. That isn't one of the harder ones.

CATHERINE: It's beautiful, Mrs. Hunziger.

ADELE: (to Frank) There's no way to say what I feel. Thank you.

FRANK: I'm glad I could help.

[Adele turns and looks into the living room where husband rests on the couch and is talking with their son Malcolm on leave from the prison for a visit. Two armed guards are in the room with them.]

[she turns back to Frank and hugs him.]


[The Blacks' plane has just landed. Frank has a bag slung over his shoulder and is carrying Jordan. He and Catherine walk over to the Air USA baggage conveyor belt to wait for their bags. An announcement can be heard on the public address system.]

{WOMAN: Barbara Ridgley, pick up a white courtesy. phone. Barbara Ridgley, please pick up a white courtesy phone. }

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

CATHERINE: Want to leave her with me?

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

[He kisses her and walks to the door with Jordan in his arms. She's holding onto a doll. He leaves Catherine in the airport, waiting to claim their bags.]

[He walks out of the terminal to the parking lot. As he passes, we can see Catherine inside through the glass doors, a crowd of passengers moving about, looking for their own bags. But in the foreground, we see the Figure walk up and watch Frank as he goes to get his Jeep. He then turns to look at Catherine who is looking at Jordan's paper dove.]

[Frank brings the Jeep around to the main entrance of the terminal. He turns to look at Jordan, soundly asleep in the rear seat. He steps out of the Jeep, closes the door and checks to see that it is locked, leaving Jordan alone in the car.]

[He enters the terminal to look for Catherine. He finds only the paper dove left alone on the floor where Catherine had stood. He picks it up and holds it in his hand. He looks at the baggage converyor belt. The area empty now of people and the only two bags left on the belt are theirs, a large bag and a smaller one. The smaller one bears a tag with Catherine's name and their address on it.]

FRANK: Catherine...

[He crushes the paper dove in his hands.]

[fade to black]

[end titles]

Lance Henriksen (Frank Black)

Megan Gallagher (Catherine Black)

Brittany Tiplady (Jordan Black)

Guest Starring

Barbara Williams (Dawn)

Mike Starr (Henry Dion)

Linda Sorensen (Marie France Dion)

Ken Pogue (Catherine's Father [Tom Miller])

William Nunn (C.R. Hunziger)


[Maxine Miller] (Catherine's Mother [Justine Miller])

[Todd Waite] (Agent Kane)

Frank Cassini (Agent Devlin)

Judy Norton (Carol Scammel)

[Noah Dennis] (Nick Scammel)

Garry Davey (Ranger Chet)

Doris Chillcott (Adele Hunziger)

Paul Raskin (Figure)

Arlen Jones (Agent Emmerich)

Eric Breaker (Malcolm Hunziger)

Angela Donahue (Amy Lee Walker)

[brenda McDonald] (Mrs. Steinberg)

[Michael St. John Smith] (Gil)

[Mitch Davies] (Rick Scammel)

Music by Mark Snow

Editor: George Potter

Production Designer: Mark Freeborn

Director of Photography: Robert McLachlan

Associate Producer: Jon-Michael Preece

Creative Consultant: Walon Green

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 Walon Green & Ted Mann

Directed by Thomas J. Wright

Executive Producer: Chris Carter

Edited by Libby
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