M I L L E N N I U M

"PAPER DOVE"

Ep. # 1.22  [MLM-121  (4C21)]

[ First Season ]  (Complete Transcript)

U.S. Air Date: May 16, 1997

=====================================================================
Disclaimer: This transcript was made from a personal video copy
and is presented for Fair Use only to Millennium fans. All of the
characters and scripts are the properties of Chris Carter, 1013
Productions, Fox Broadcasting Company and their respective authors.
No copyright infringement is intended nor implied by the distribution
of this document. It is solely meant for entertainment purposes only.

-- Maria Vitale 
=====================================================================


[Trademark music cue as the scene fades in from white... ]


HAGERSTOWN, MARYLAND


[OPENING SCENE: 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... "}

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

[The camera 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 comes 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.]


[Logo fade in from white... Music and main titles roll]


M I L L E N N I U M


wait


worry


starring

Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)


created by Chris Carter


who cares?


--------- commercial segment ---------


[Trademark music cue... ]


[Episode quote]

"And now there is merely silence,
silence, silence, saying
All we did not know."

William Rose Benét


[Trademark music cue as the scene fades in from white... ]


[Episode credits roll during the next scene]


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)

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


ARLINGTON, VIRGINIA


[NEXT SCENE: 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.]

  Catherine: "Yay!"

[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.]

  Jordan: "Gran!"

  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: "What do you say, 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 ghalabia."

  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. Tatania,
  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: ]


BATTLE OF
CHANCELLORSVILLE

ON APRIL 27, 1863, GENERAL
ROBERT E. LEE WITH LESS
THAN SIXTY THOUSAND MEN
DEFEATED GENERAL JOSEPH
HOOKER'S ARMY OF 120,000.


  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.]

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

  Jordan: "What time is it in Seattle?"

[Frank checks his watch.]

  Frank: "7:00."

  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."

  Jordan: " 'Kay."

  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.]

  Frank: "Hi."

  Tom: "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'm want to ask you a favor.
  You may remember the Hunzingers. 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 everyday 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.]

[NEXT SCENE: 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 intructions 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. Dorme vouz?
  Dorme vouz? Sonnez les matines, sonnez les matines.
  Ding, dang, dong. Ding, dang, dong."


--------- commercial segment ---------


[Trademark music cue as the scene fades in from white... ]


[NEXT SCENE: Morning. The Hunzinger residence. Frank, as he promised his
father-in-law, is visiting C.R. Hunzinger, who lies on the living room
couch. The scene opens with a shot of a photograph of Malcolm Hunzinger,
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 you
  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 who 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, Ms. Hunzinger. 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.]

[NEXT SCENE: 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. Hunzinger has given him. Catherine enters the room.]

  Catherine: "Hi."

  Frank: "Hi."

  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.]


JARRATT STATE PRISON
GREENSVILLE, VIRGINIA


[NEXT SCENE: Frank visits Malcolm Hunzinger 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.
  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 soundds 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.]

[NEXT SCENE: 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
  that you're here."

[Catherine turns and waves at the camera.]

  Catherine: "Hi, mom."

[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: "So?"

  Catherine: "So?"

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

  Catherine: "I seem distint?"

  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.]


FBI HEADQUARTERS
QUANTICO, VIRGINIA


[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: "Hunzinger 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. Gregrious. 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."

[NEXT SCENE: 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 very 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.
  Yeah, 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) "No, 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."

  Frank: "How?"

  Catherine: "Just like we just did."

  Frank: "Mmm... "

[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. S- 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.]


--------- commercial segment ---------


[Trademark music cue as the scene fades in from white... ]


[NEXT SCENE: 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: "Hey."

  Frank: "Hi."

  Catherine: "What's that?"

  Frank: "It's some information I requested from
  Quantico. I don't think Malcolm Hunzinger 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 before I turn this over."

  Catherine: "When?"

  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."


PEAKS OF OTTER
BEDFORD COUNTY, VIRGINIA


[SETTING: 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 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 to
  the creek."

[Frank picks up a handful of leaves and it triggers a brief vision.]

[He sees: Hunzinger's wife, 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."

[NEXT SCENE: 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. Just 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 Hunzinger case. Several crime
scene photos of the dead women are pinned to a board.]

  Kane: "So you think Hunzinger's wife was done by our
  so-called `Big Woodsman?' "

  Emmerich: "There isn't a remote similarlity in the
  M.O. The Woodsman is an abductor. He never kills in
  their homes."

  Frank: "I think Hunzinger's wife was his first victim.
  When he almost got caught, he changed his M.O.,
  abducting, taking them from the home, then killing
  them."

  Kane: "But his signature is the same."

  Devlin: "The larynx?" (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."

[NEXT SCENE: 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."

[NEXT SCENE: 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 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: "Eh?"

  Henry: "No."

  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 register 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.]

  Marie: "Hmm?"

[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.]


--------- commercial segment ---------


[Trademark music cue as the scene fades in from white... ]


[NEXT SCENE: 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 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: "S- 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: "I'm not playing with you anymore in any way.
  Understand? I'll annihilate your sleep forever
  because I'm sure as hell going to let the public
  know that what's happening to them is because of
  you -- your stupidity and Frank Black! I know about
  Frank Black, yes. Now, you go back and you find her,
  damn it! She's in those woods alone! I might as well
  let you know, Mr. Kane, that I intend to terrorize
  D.C. until there are soldiers in the streets corners."

[Kane 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.
  He'll try to kill again first."

[NEXT SCENE: 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 thing 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 to do. I
  have to get ready for it."

  Marie: (very upset) "I only ask you 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 remaing 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.]

[NEXT SCENE: 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?"

  Devlin: "Yeah."

  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 but... ]

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

  Henry: "You."

[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.]

[NEXT SCENE: The Hunzinger residence. Catherine, Jordan and Frank have to
visit one last time before leaving for home. They all stand in the foyer.]

[Adele Hunzinger 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. Hunzinger."

  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.]


SEATTLE / TACOMA AIRPORT


[FINAL SCENE: The return home.]

[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 Rigley, pick up a white courtsey.
  phone. Barbara Rigley, 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.]


[ ...the credit fades in... ]


Executive Producer: Chris Carter


---------  commercial segment  ---------


[End titles roll]


Ten Thirteen Productions
in association with

20th Century Fox Television (R)
A News Corporation Company

Co-Starring

[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 Hunzinger)
Paul Raskin (Figure)
Arlen Jones (Agent Emmerich)
Eric Breaker (Malcolm Hunzinger)
Angela Donahue (Amy Lee Walker)
Brenda McDonald (Mrs. Steinberg)
Michael St. John Smith (Gil)
[Mitch Davies] (Rick Scammel)

Casting by Rick Pagano / Debi Maniwiller, C.S.A.
Vancouver Casting by Coreen Mayrs
Original Casting by Randy Stone, C.S.A.
Production Manager Kathy Gilroy-Sereda
First Assistant Director: Craig Matheson
Second Assistant Director: David Klohn
Set Decorator: Louise Roper
Art Director: James Steuart
Construction Coordinator: Mike Rennison
Script Supervisor: Beth Mercer
Location Manager: Matthew Chipera
Hair Stylist: Brenda Gibson
Makeup Artist: Carolyn Stewart
Special Makeup Effects: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Jenny Seinen
Sound Mixer: Patrick Ramsay
Camera Operators: Rod Pridy, Mike Wrinch
Gaffer: Barry Donlevy
Key Grip: R.K. Hill
2nd Unit Director of Photography: Les Erskine
Property Master: Kimberley Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: James Perenseff
Extras Casting: Lisa Ratke

Assistants to Chris Carter
Mary Astadourian: Joanne Service
Production Coordinator: Isabel Johnson
Post-Production Supervisor: Denise Pleune
Casting Associate - Los Angeles: Alfred Gomez
Casting Associate - Vancouver: Heike Brandstatter
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark R. Crookston
Re-Recording Mixers: James G. Williams, Bryan Gladstone, Don MacDougall
Re-Recording Engineer: Steven Coker
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Jim Thomson, Robert Hudson
On-Line Editor: Bob Minshall
DaVinci Colorist: Philip Azenzer
Visual Effects by Area 51
Visual Effects Supervisor: Glenn Campbell
Visual Effects Producer: Tim McHugh
Main Title Sequence by Ramsey McDaniel / Storm Media
Processing by Gastown Labs
Telecine by Gastown Post
Electronic Assembly by Encore Video
Camera and Lenses by Clairmont Camera
Vehicles Provided by Chrysler
Filmed on Location in British Columbia, Canada
Presented in Dolby Surround TM where available

Copyright (c) 1997
Twentieth Century Fox Film Corporation
All Rights Reserved #4C21

Twentieth Century Fox Film Corporation is the author of this motion
picture for purposes of copyright and other laws. 

The characters and names depicted in this photoplay are fictitious. Any
similarity to actual persons, living or dead, is purely coincidental.

Ownership of this motion picture is protected by copyright and other
applicable laws, and any unauthorized duplication, distribution or
exhibition of this motion picture could result in criminal prosecution
as well as civil liability.

========================================================
Millennium
Copyright and TM, 1997 -- FOX Broadcasting Company
========================================================

Last Updated: May 20, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net