Cheryl Duckworth
A Review of Paper Hearts
by St. Vince Gilligan
"I don't know what to believe.  I just know I have to find out now."
	~Fox Mulder
"Paper Hearts" is one of those episodes that has haunted me since I 
first saw it.  This is "The X-files" at its darkest, most tragic, most 
harrowing and most brilliantly executed.  I personally find it just 
about flawless.
I wonder if Vince Gilligan even knows the effect of everything he tapped 
into with this episode, calling to mind themes we all understand 
subconsciously and instinctively, like nightmares and loss and evil and 
innocence.  The paper hearts cut from the girls' dresses and the use of 
a favorite childhood tale, Alice in Wonderland, were almost brutally 
effective to convey this.  The fragile image was heartbreaking, 
espeically when you consider that it's really Mulder's heart he's 
refering to.  He also demonstrates that he understands (to say the 
least) what makes a good X-file.  For example, to call this episode 
"focused on character not plot" would be a gross understatement.  And, 
once again, his monster of the week is not some alien or mutant, but a 
human monster who is all to real.  Serial killers like John Lee Roche 
scare me more than any little green man simply because they exist.  
Gilligan again proves himself a master of sheer suspense.  Not many 
scripts truly surprise me, even on this show, but I literally jumped 
when Mulder woke up handcuffed with Scully and Skinner calling to him 
through the door.  He also knows how   to use one of the shows 
hallmarks, irresolution, to perfect effect.  Mulder never does find the 
little girl belonging the the last paper heart and the final scene makes 
it clear that this haunts him still.  But I didn't feel cheated or as if 
the story was not resolved because the writer ran out of ideas.  He knew 
exactly what he was doing and exactly how to walk that line between 
giving the viewer too much and too little.  I was also impressed that he 
even dared to call the entire premise of the show into question in the 
first place.  He does it giving us a perfectly plausible alternate 
explanation as to what might have happened to Samantha without 
dismantling any of the story already in place.
If there is such a thing as a sacred Mulder episode , this would have 
to be one.  I fell in love with this Mulder.  He was vulnerable without 
whining; he was determined and passionate and tragic.  His work made it 
clear why people called him Spooky;  I always love hearing him profile.  
Like Scully said, he does good work.  That's nice to know for sure, 
since most people he encounters don't think so.  (If he'd just *listen* 
when she compliments him like that, he'd be a much happier man, as I've 
said before.)  Also, while we often get Victim'sAdvocate!Scully*, I 
loved that we actually got Victims'Advocate!Mulder in this one, too.  
While in the midst of pain as deep and wrenching as any he's even felt, 
Gilligan's Mulder can still care about others.  And he proves when he 
says, "It's somebody, though" upon confirming that the skeleton he'd 
found was not Samantha's or when we see his compassion for the father of 
one of Roche's victims, Mr. Sparks.  We see this again when he tells 
Scully "That doesn't really matter now, does it?" when she asks if 
Roche's final heart belonged to his sister.  And when an innocent girl 
was in danger because of him and he was determined to do something about 
it.  I will also love him for choosing to save Katlyn (adorably played 
by the cutest little actress 1013 could possibly find) instead of 
pursuing his own quest.  If everyone wrote Mulder like that, I'd never 
use the word "Punk."
Every once in a while, I see a performance that makes me grateful to be 
alive.  David Duchovny's performance in this episode is one of them.  No 
matter how many times I watch it, he makes it new somehow.  In every 
scene, he gave Mulder an aching vulnerability and desperation and anger 
that was unforgettable.  His expressions digging both gravesites, trying 
to find the skeleton, were wonderful.  And his scenes with Roche 
crackled with raw emotion.  Duchovny used every weapon in his acting 
arsenal-- those eyes, his soft, throaty deep voice, the body language-- 
to full effect.  I will never forget what I've come to call the Samantha 
Smile when Mulder finally gets it right (only not really) and pulls his 
sister out of Roche's car and into his arms.  It was a huge moment in 
the context of the whole show and he sank into it.  And (to quote Sister 
Autumn) in the "its the little things that count" department, I loved 
that in an episode which explored Mulder's insomnia (I wouldn't sleep 
either if I had dreams like that), I could *feel* Mulder's physical 
exhaustion, see it written all over his face.
But despite that this was clearly Duchovny's episode, it would be a 
crime to ignore the performance Gillian Anderson gives.  Anderson's 
performance and Gilligan's script give us an entire hour of 
Valkyrie!Scully, hovering about Mulder, fiercely protective.  I loved 
how she literally shook with anger and hissed "Stop the mind games" when 
Roche taunted Mulder with "Most of all, I can't wait to see your face" 
(when Mulder is forced to admit that Samantha is dead).  I loved, as I 
always do, that she defended him unflinchingly to Skinner.  And I could 
feel her aching with Mulder's pain when, after she and Mulder left 
Roche, Scully moves right up to Mulder, inches away, and utters, "Are 
you okay?"  Moments like that convince me personally that Gillian, at 
least, thinks Scully is in love with this man.  (Anyone else catch that 
look of utter adoration she gives Spooky when he profiles his way to 
finding the hearts in the camper shell of Roche's old car?)  And she 
proves again that she doesn't need words to communicate 
Scully's thoughts with The Look she gives Mulder after he asks if she 
believes Samantha was abducted by aliens.
For me, such tight scripting and skillful characterization always result 
in, yes, shippiness.  I loved the contrast in the Morgue scene of 
Anderson's cool head against Mulder's pinkish, wet eyes as he fights 
tears fingering what might be his sister's skeleton.  Their tender 
little "butt-hug" (as I've heard it called) remains one of my favorite 
quiet moments between them.  It was exquisitely played, with Anderson's 
tender, silky voice caressing an exhausted, wounded Mulder (I could of 
sworn he was going to do a face plant on that desk.)  Her presence makes 
him able to laugh at his own pain, making him stronger.  Again, Scully's 
deep admiration for Mulder come across when she says she knows they will 
find the last missing girl because she knows him.  The unbreakable bond, 
and Scully's loyal faith, were breathtaking.  No wonder Gilligan's the 
Patron Saint of Shippers.  
Mitch Pleggi and Tom Noonan both deserve a mention.  Pleggi's Skinner 
was as tough and hard and compassionate in the end as he always is.  And 
Tom Noonan's John Lee Roche remains one of my Most Hated Villains, a 
testament to his performance.  He played this predator with a malicious 
childlike wonder that chilled me.  Roche knew exactly what he was doing 
to Mulder;  that was his goal and he utterly, remorselessly enjoyed it.  
I loved that he pretended to be a victim himself at times, as when he 
pouted "Are you going to hit me again?" to Mulder.  Noonan was 
effectively cast, too.  Not many of the show's other characters tower 
over the six foot one Duchovny.  
The direction and score also help me lose myself in this story.  The 
lighting and the use of the little red dots not only reinforced the 
nightmarish fairytale of Gilligan's script but help me bounce back and 
forth between dream and reality.  Mark Snow's music was consistent with 
this, which I also found helpful.  I also loved direction of the teaser, 
as we move smoothly from Mulder's dream to his finding the grave site to 
the excavation the next morning without a shot wasted.
You know you've got an instant classic when you've written too much and 
have only covered half of what you loved about an episode.  This one 
gets all ten tic tacs out of ten, no question, with Duchovny's choice of 
flavor for his finest performance.
Favorite Mulderism of the Night:  "And you've got the wrong damn house, 
you stupid son of a bitch!"
Supidest Line (there actually was one, and I laugh out loud everytime):  
"Call an ambulance"  Um Mr Skinner, sir, Roche has just been shot from 
six inches away through the skull.  I think he's pretty much a goner.
SWILS Note:  There was something about her purposeful stride in this one 
I loved.  
Mulder Drooling:  WOW!  It's impossible to choose, so I'll just list 
what I like.  That (to quote the DDEB "radiant vulnerability".  Those 
lean, muscled arms with that short-sleeved shirt.  And...MULDERGLASSES!  
Hoo BOY!
Cheryl
*Thanks for this title, JP!
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