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transcript is in no way a substitute for the show "The X-Files" and is
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Transcript downloaded from:
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----------------------------------------------------------------------
Guide to abbreviations: VO (voice over), CU (close up),
MCU (medium close up), MLS (medium long shot),
ECU (extreme close up), POV (point of view)
The numbers indicate a new scene.
(TD NOTE: The word "torch" means "flashlight" to our North American
visitors)
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THE X-FILES
Episode # 2.14
DIE HAND DIE VERLETZT
written by Glen Morgan and James Wong
directed by Kim Manners
1. INTERIOR, NIGHT. CONFERENCE ROOM,
CROWLEY HIGH SCHOOL
CAPTION: PARENT TEACHER COMMITTEE,
MILFORD HAVEN, NEW HAMPSHIRE
(close-up of PTC room wall)
PLAQUE AUSBURY (Voice Over): All in favour?
DEBORAH (VO): Aye.
CALCAGNI (VO): Aye.
AUSBURY: All right.
Medium close-up, AUSBURY: ATTRACTIVE, ORDINARY MAN,
LATE THIRTIES. IT IS OBVIOUS HE IS CHAIRING A MEETING.
HE STIFLES A YAWN. CAMERA SLOWLY PULLS OUT TO
SHOW HIM IN STANDARD CONFERENCE ROOM, BULLETIN
BOARDS ETC.
AUSBURY: Starting Monday, the track around the athletic field will be
closed to joggers at 8:30 pm instead of ten. (HE LOOKS UP AS IF AT
OTHER PEOPLE, WE HEAR MURMURS OF ASSENT)
Any other items before we call it a night?
PAN TO PETE CALCAGNI, A MAN AROUND AUSBURY'S AGE,
SATURNINE, SERIOUS. AS PANS BELOW CONTINUE, WE
REALISE THEY ARE ALL SITTING ROUND A TABLE.
CALCAGNI: Yeah, um, I got wind that for the spring drama productions,
Howard Roberts intends to put on Jesus Christ Superstar.
(WRY AMUSEMENT).
PAST CALCAGNI, WE SEE AUSBURY SMILE
AUSBURY: You know how he is... Howard's just trying to do things
the kids like.
CALCAGNI: My point exactly.
PAN PAST HIM TO DEBORAH BROWN, PROFESSIONAL-LOOKING
WOMAN, SAME AGE GROUP.
DEBORAH: Um... I don't think that play is appropriate for this
high school.
PAN TO FOURTH MEMBER OF THE GROUP, PAUL VITARIS.
LOOKS A BIT OLDER THAN THE OTHERS, MOUSTACHIOED
AND SPORTY.
VITARIS: If he wants to be young, I have no problems with "Grease",
or "Annie", or...
CALCAGNI: Doesn't "Grease" have the "F" word?
AUSBURY: Look, I'll talk to Howard. OK, let's adjourn till next week.
Deborah, why don't you lead us in a prayer?
HE PRODUCES A RED CANDLE AND SETS IT ON THE DESK AS
HE AND VITARIS SPEAK.
VITARIS: Jim -- the game is on.
CALCAGNI: It'll only take a minute. (SIGHS)
We've been... letting it slip.
AUSBURY STRIKES A MATCH TO LIGHT THE CANDLE.
WE HEAR FAINT THUNDER IN THE BACKGROUND.
AUSBURY: Paul, why don't you get the door.
VITARIS GETS UP, CAMERA TRACKS HIM TO THE DOOR THEN
IS "SHUT OUT" BY HIM. FAINT LIGHT IS VISIBLE AROUND DOOR
EDGES. OVER FOLLOWING, CAMERA SLOWLY PULLS OUT
FURTHER.
ALL (VO): In the name of the Lords of Darkness, rulers of the Earth,
kings of the Underworld, I command the forces of darkness to bestow
their infernal power upon me.
DURING THE ABOVE AND THE FOLLOWING, THE LIGHT AROUND
THE DOOR BRIGHTENS, REDDENS, GLOWS IN TRADITIONAL
"INFERNAL" WAY
DEBORAH (VO): Sein ist die Hand die verletzt
OTHERS (VO): Sein ist die Hand die verletzt.
CAPTION: HIS IS THE HAND THAT WOUNDS!
DEBORAH (VO): Sein ist der Ort genannt Hölle. (or: Hoelle)
OTHERS (VO): Sein ist der Ort genannt Hölle. (or: Hoelle)
CAPTION: HIS IS THE PLACE CALLED HELL.
DEBORAH (VO): May the black powers of our forefathers make us strong.
ALL (VO): Hail. Hail the Lords of Darkness.
FADE INTO OPENING TITLES.
2. EXTERIOR. NIGHT. WOODS
CAPTION: MILFORD HAVEN, NEW HAMPSHIRE.
IT IS RAINING HEAVILY. WE SEE FOUR KIDS WALKING THROUGH
THE WOODS, TWO BOYS FOLLOWED BY TWO GIRLS. THEY ARE
BACKLIT BY VERY STRONG MOONLIGHT COMING THROUGH THE
TREES. THE BOYS (JERRY STEVENS AND DAVE DURAN) ARE
PRETTY STANDARD GRUNGE TYPES, THE GIRLS (KATE AND
ANDREA) STANDARD "NICE GIRL" LOOKS. THE GIRLS CARRY
UMBRELLAS. JERRY STEVENS IS CARRYING A BULKY PACKAGE
IN A BROWN PAPER BAG. DURING THE FOLLOWING EXCHANGE
THEY WALK UP TO AND PAST CAMERA.
KATE: How much further?
THE BOYS ANSWER SIMULTANEOUSLY
JERRY: Up there a ways.
DAVE: Not far.
JERRY: I heard the altar is a hollowed stump, just up here.
(HE IS CARRYING AND DRINKING FROM A BOTTLE. IT BECOMES
CLEAR THAT THE PACKAGE CONTAINS FURTHER BOTTLES.
SAYS TO DAVE, LOW VOICE) OK. When they get free, you get
Kate, I take Andrea. (GRINNING) Those mittens are giving me keerage
(????) (HE AND DAVE LAUGH LAUGH TOGETHER. THE GROUP
APPROACHES THE STUMP) This is it. (HE DRINKS, PUTS THE
BOTTLES DOWN)
DAVE: OK. I need a personal object from everyone. All right.
(THEY GATHER ROUND THE STUMP, THE GIRLS STILL HANGING
ON TO THEIR UMBRELLAS. DAVE PRODUCES A BLACK CANDLE
FROM HIS POCKET, STANDS IT UP ON THE STUMP AND LIGHTS IT)
Now Andrea, you gotta stand over here and face Jerry (GUIDES HER
TO STAND OPPOSITE JERRY)... Like this.... (SHE LOOKS UNCERTAIN)
Closer. (PUSHES THEM CLOSER STILL)
ANDREA: Why like this?
DAVE: Well that's so... er... so we're calling the spirits up of every
direction. (PATS HER ON THE BACK, MOVES BACK TO KATE).
Ok now Kate, you gotta stand here and face me. (PULLS HER).
KATE: Do you really think someone used this place for black magic?
Or is it just a rumour?
JERRY: (IMPATIENTLY) C'mon Dave!
DAVE: (TO JERRY) Sshh! (HE TAKES A PIECE OF PAPER,
OBVIOUSLY A PAGE TORN FROM A BOOK, FROM HIS POCKET,
AND TURNS TO KATE. HE BEGINS TO READ FROM IT, LOOKING
IN TURN AT THE OTHERS. HE'S REALLY TRYING TO COME ACROSS
AS SERIOUS ABOUT IT) In the name of the Lords of Darkness,
rulers of the Earth, kings of the Underworld, rise, rise to this place.
Ah... Azazal. (SOUND LIKE SIGH IS HEARD AS THE CANDLE IS
BLOWN OUT. DAVE AND ANDREA LOOK AT IT, DAVE ISN'T
BOTHERED) Know ye all who dwell in the light of professed
righteousness that the others who know the keys and the angels
have opened the gate.
A SOUND LIKE GROANING VOICES FILLS THE AIR; DAVE IS
STARTLED, KATE LOOKS SCARED. ANDREA IS SCARED --
SHE JUMPS TO HUG JERRY FOR PROTECTION. JERRY SIMPLY
GRINS. KATE AND DAVE ARE VERY UNEASY, LOOKING AROUND.
ANDREA LOOKS DOWN AND SCREAMS, AGAIN AND AGAIN.
ANDREA'S POV: MANY RATS RUNNING AROUND HER FEET.
THE OTHERS ARE OBVIOUSLY SCARED NOW.
STILL SCREAMING, ANDREA RUNS OFF INTO THE FOREST.
JERRY: Forget this! (RUNS AFTER ANDREA, SHOUTING) Andrea!
KATE IS TURNING TO FOLLOW THEM. DAVE THROWS SOMETHING
AT THE RATS WHICH BURSTS INTO FLAME AS IT HITS THE GROUND.
HE TURNS AND THEY RUN AFTER THE OTHERS.
3. EXT. WOODS. NIGHT. A COUPLE OF HUNDRED METRES AWAY
WE SEE ANDREA, SOBBING, UPSET, RUNNING, FRANTICALLY
RECITING A PRAYER OF SOME SORT. SHE IS PRACTICALLY
HYSTERICAL.
ANDREA: ....believe in Jesus Holy Mary Mother of God pray for us
sinners now and in the hour of our deaths...
RUNS PAST CAMERA, WE SEE JERRY RUNNING AFTER HER.
JERRY: Andrea! Wait!
HE HAS ALMOST CAUGHT HER UP WHEN A LINE OF FLAME
APPEARS SUDDENLY ON THE GROUND. HE STUMBLES AND
FALLS TO HIS KNEES IN FRONT OF IT, BLINDED BY THE LIGHT.
HE GETS TO HIS FEET, SHIELDING HIS FACE. A GROAN-LIKE,
ANIMALISTIC SOUND IS HEARD. HE TURNS AND A THIN, BONY,
CADAVEROUS HAND SEIZES HIS THROAT AND LIFTS HIM UP
... UP... HE IS CHOKING.
4. EXT. DAY. SAME SPOT
CAPTION: 8:55 A.M.
IT IS STILL RAINING. A GLOVED HAND DROPS A WHITE TARP TO
REVEAL AGENT SCULLY, CROUCHING UNDER AN UMBRELLA.
SHE HAS OBVIOUSLY BEEN LOOKING UNDER THE TARP
AND WEARS A LOOK OF FAINT DISGUST.
OAKES (VO): A hunter found him early this morning.
SCULLY: Couldn't have been dead for more than 12 hours.
SHE STRAIGHTENS UP. DURING THE FOLLOWING WE SEE THAT
SHE AND MULDER ARE STANDING OVER WHAT IS OBVIOUSLY
A BODY UNDER THE TARP. SHERIFF JOHN OAKES IS STANDING
ON THE OTHER SIDE OF THE BODY, WHILE UNIFORMED POLICE
ARE SEARCHING THE AREA IN THE BACKGROUND. EVERYONE
CARRIES UMBRELLAS. THROUGHOUT THE DISCUSSION, OAKES,
A WORRIED-LOOKING MAN IN AROUND HIS EARLY FORTIES,
HAS AN AIR OF "I KNOW THIS SOUNDS CRAZY BUT" ABOUT HIM
-- HE IS WELL SHOOK UP, NERVOUS, BUT SERIOUS IN HIS
SUGGESTIONS.
OAKES: They say this arena's used for witches' ceremonies.
MULDER: "They"?
OAKES: Well.. everybody... everybody who lives around here knows
about the things that go on in this town. They say there are people
who control things.
SCULLY: (POLITE DISBELIEF) Any evidence to substantiate those
rumours, Sheriff Oakes?
OAKES: Well, Agent Scully... look at the body... the eyes and heart
have been cut out.
MULDER LOOKS ON BLEAKLY
SCULLY: Many homicides include victim desecration.
OAKES: I know he and his friends listened to devil music!
MULDER: "The Night Chicago Died"? (HE WALKS AWAY)
OAKES: (TURNING TO FOLLOW MULDER AS HE MOVES AWAY)
You know what I mean. Heavy Metal bands that influence kids...
OAKES MOVES TO JOIN MULDER, WHO IS WALKING UP TO
THE STUMP, SCULLY FOLLOWING.
MULDER: Was Jerry Stevens or his friends ever witnessed participating
in witchcraft?
OAKES: No.
SCULLY: More rumours.
OAKES: (POINTING) This stump here is supposed to be the ceremonial
altar. What do you think?
MULDER MOVES CLOSER TO LOOK AT IT
MULDER: I think with a few turquoise chips, a picture of John Wayne
and three cans of shellac it'd make a pretty nice coffee table.
OAKES: Well you see all that wax? Someone's been lighting candles
in there.
UNDER THE ABOVE, SCULLY HAS BEEN EXAMINING THE BAG
OF BOTTLES JERRY HAD BEEN CARRYING. SHE STRAIGHTENS
UP, THEN NOTICES SOMETHING ELSE, GOES OVER TO PICK IT UP.
IT'S THE PAGE DAVE WAS HOLDING.
SCULLY: Any idea who Jerry Stevens was with out here?
OAKES: Oh... we assumed he was alone.
SCULLY: Well, most people don't set out to drink two six-packs by
themselves. (MULDER NODS) I also found this (HOLDS UP PAGE).
It has some purple ink on the edge, like a library identification stamp...
(CU ON PAGE: IT'S TORN AND CRUMPLED. WE SEE THE END
OF A TITLE, "in America", ON THE TOP, AND UNDERNEATH SOME
WORDS RECOGNISABLE FROM THE INCANTATION.)
...and the end of the title says "In America".
I'm surprised your people overlooked it.
OAKES: I'm sorry, I gotta apologise here. You're... you're right,
I admit we're a little...rattled...here. (HESITANTLY)
That's why I called the FBI. This may involve a deeper conspiracy.
(MULDER ROLLS HIS EYES) See... I grew up around here.
Ever since I was a kid I heard... stories. This is a weird area,
it has a strange air that I could chalk up to imagination...
till today... (SCULLY HANDS HIM THE PAGE; HE TAKES IT)
I'll have my staff start checking libraries for you, Agent Scully.
HE WALKS OFF. MULDER WALKS OVER TO SCULLY.
MULDER: Better hide your Megadeth albums.
SCULLY: Theories like that are why I can't take him seriously.
MULDER: The homicide did have a ceremonial presentation --
the manner in which the body was displayed...
SCULLY: Mulder, I got the impression you didn't believe him either.
MULDER: I didn't want to incite his already clearly aggravated
imagination. But there is a weird feel to this place, maybe there is
some truth to those rumours.
SCULLY: I think he incited your imagination. I think this case is
nothing more than a murderer taking advantage of local folklore.
I mean there's nothing odd about -
SHE IS CUT OFF AS SOMETHING FALLS ONTO HER UMBRELLA,
KNOCKING IT. OTHER THUDS ARE HEARD. CUT TO SHOT FROM
ABOVE. FROGS ARE FALLING HEAVILY ONTO THE PAIR'S
UMBRELLAS. CUT BACK TO THE AGENTS -- THEY LOOK BEMUSED,
MULDER LOOKING UP, SHIELDING HIS FACE, SCULLY DUCKING,
DEFINITELY STARTLED. THE THUDDING STOPS. CUT TO SHOT
OF THE GROUND -- MANY FROGS HOPPING AROUND THEIR FEET.
MULDER: So... lunch?
SCULLY: Mulder, toads just fell from the sky!
(LOOKS AT HIM, TAKEN ABACK)
MULDER: I guess their parachutes didn't open.
You were saying something about this place not feeling "odd"?
HE WALKS AWAY. SCULLY STANDS STILL FOR A MOMENT,
THEN FOLLOWS HIM, STEPPING GINGERLY OVER THE FROGS.
5. INT. DAY. CROWLEY HIGH SCHOOL LIBRARY
CAPTION: CROWLEY HIGH SCHOOL LIBRARY
MLS: MULDER IS AT THE LOANS DESK, FLICKING THROUGH A
BOX OF LIBRARY CARDS. CU ON THE CARDS. WE SEE ONE
FOR STEPHEN KING'S "Four Past Midnight", THEN ONE FOR
M.R. KRASHEWSKI, "Witch Hunt: A History of the Occult in America".
MULDER STARTS TO LIFT THE CARD OUT. BACK TO THE MLS;
WE SEE SCULLY WALK INTO THE LIBRARY AND JOIN MULDER.
SCULLY: The National Weather Service says there are tornadoes in
Northern Massachusetts. The wind probably picked up the animals into
the storm. (DOESN'T LOOK TOTALLY CONVINCED, DESPITE HER WORDS).
CU LIBRARY CARD -- LAST BORROWER "DAVE DURAN".
MULDER: "Witch Hunt: A History of the Occult in America".
(HE HANDS HER THE CARD)
SCULLY: Last checked out to a Dave Duran.
6. INT. DAY. SCIENCE LAB
A TYPICAL HIGH-SCHOOL SCIENCE LAB/CLASSROOM.
WE PAN ALONG THE BENCHES, PAUSING BRIEFLY BY A NEAT,
DARK GIRL (SHANNON AUSBURY), THEN ALONG TO DAVE.
DAVE IS EDGY, VERY ILL AT EASE, TAPPING HIS EQUIPMENT
WITH PENCILS, FIDGETING, LOOKING OVER HIS SHOULDER.
WE FOLLOW HIS GAZE AND SEE KATE AND ANDREA AT THE
BACK OF THE CLASSROOM. THEY ARE ALSO NERVOUS.
WE HEAR A SCHOOL BELL RING.
PADDOCK: OK people... People, may I have your attention please.
(MCU MRS PADDOCK: A TYPICAL PLAIN "OLD MAID" TYPE
TEACHER, FLORAL DRESS, UNFLATTERING HAIRSTYLE,
GLASSES ON A CHAIN ROUND HER NECK.) Mr Kingary (??)
is off sick today, so I'll be substituting. My name is Mrs Paddock.
I'm going to take the role...
SHE IS INTERRUPTED BY A KNOCK AT THE DOOR.
DAVE STARTS UP, HEARING IT. PADDOCK CROSSES TO
OPEN THE DOOR. WE SEE DAVE'S POV: MULDER AND
SCULLY, WHO STEP A LITTLE WAY INTO THE ROOM.
THEY CAN ONLY JUST BE HEARD.
SCULLY: ...FBI, we'd like to speak with a Dave Duran...
DAVE, HEARING HIS NAME, MAKES A MAD DASH FOR THE
WINDOW, CLAMBERING OVER A BENCH AND KNOCKING
EQUIPMENT EVERYWHERE AS HE TRIES TO SCRAMBLE
OUT HEAD-FIRST. MULDER PELTS ROUND AFTER HIM,
CATCHES HIM AS HE IS HALF-WAY THROUGH, PULLS HIM
BACK BY THE LEGS.
DAVE: (MUFFLED) Let me go!
7. INT. DAY. CALCAGNI'S OFFICE
CU DAVE, FRIGHTENED, DEFENSIVE BUT STICKING TO HIS STORY.
DESPERATE TO BE BELIEVED.
DAVE: I'm not into that stuff at all, I swear. (SIGHS) Jerry was
my best friend. Look, I swear, I've never done anything like that.
SCULLY: What made you go to a place you heard was a witches' altar?
DAVE TURNS HIS HEAD, WE FOLLOW HIS GAZE AND SEE
KATE AND ANDREA STANDING TOGETHER IN A CORNER.
HE LOOKS BACK TO SCULLY, WHO IS SITTING OPPOSITE HIM.
DAVE: (SIGHS) We were just trying to get some.
ANDREA: (LOW VOICE, TO KATE) I told you.
SCULLY AND MULDER TURN TO LOOK AT THEM, THEN BACK TO
DAVE. MULDER IS STANDING NEXT TO AND LOOKING OUT OF
A WINDOW WHICH LOOKS OUT ON A HALLWAY.
SCULLY: Why did you take the book?
DAVE: Because I don't know a thing about witchcraft, and we wanted
to make it sound good... but I never thought...
SCULLY: You never thought what?
DAVE: That it would work.
MULDER: (TURNS AWAY FROM WINDOW) If you didn't kill Jerry
Stevens, why did you run away from us in the classroom?
DAVE: I'm scared, man.
MULDER: Of us?
DAVE: Of it. That ceremony! I'm afraid we called up some devil or
something. (SIGHS)
MCU OF KATE AND ANDREA, EYES DOWNCAST, THEY
LOOK SCARED TOO. WE PAN PAST DAVE TO SEE AUSBURY,
DEBORAH, CALCAGNI AND VITARIS STANDING IN A CLOSE
GROUP IN THE AREA OUTSIDE THE OFFICE, LOOKING IN AND
CONFERRING.
8. INT. DAY. RECEPTION AREA OUTSIDE CALCAGNI'S OFFICE
AUSBURY: (LOW VOICE, FIERCE) One of you killed Jerry Stevens.
Who? (HE LOOKS AT EACH OF THEM IN TURN; THEY ALL
LOOK AT EACH OTHER) He was displayed according to the
rites of Azazal. Who else would know about the ritual?
We stopped doing this because--
CALCAGNI: I went out there. We were supposed to have a Mass,
no-one else showed, so I left.
VITARIS: It wasn't any of us.
CALGAGNI: Something's here... a presence amongst us.
Angry, I can feel it.
HE STOPS AND LOOKS UP AS WE HEAR THE SOUND OF A
DOOR OPENING. THE OTHERS LOOK UP. AS AUSBURY
TURNS TO SEE WE SEE THEIR POV: SCULLY SHOWING
KATE, AUDREY AND FINALLY DAVE OUT OF THE OFFICE.
MULDER FOLLOWS. AUSBURY STARTS FORWARD.
AUSBURY: (INCREDULOUS) You're letting them go?
MULDER: (SHRUGGING) There's no evidence to warrant an arrest.
HE WALKS TOWARD THEM, SCULLY CLOSE BEHIND.
DEBORAH: They never leave evidence.
AUSBURY: We heard how Jerry Stevens was killed.
An occult ritual.
VITARIS: They've reached into our area from outside.
MULDER: (ASIDE, TO SCULLY, BUT AUDIBLE BY THE OTHERS)
"They" again.
AUSBURY: Those three kids are obviously under occult influence.
DEBORAH: They reach into our children.
In music, television, books...
CALCAGNI: They prey on children's innocence.
SCULLY: (CAN'T BELIEVE WHAT SHE'S HEARING) The FBI recently
concluded a seven-year study and found little or no evidence of the
existence of occult conspiracies.
CALCAGNI: And J. Edgar Hoover never admitted to the existence
of the Mafia. (HE HALF-SMIRKS. THE OTHERS TRY TO HIDE SMILES)
SCULLY: (VOICE RISING A LITTLE, A BIT EXASPERATED BUT
STAYING REASONABLE) Look, if the number of murders
attributed to occult conspiracies were true, it would mean
thousands of people killing tens of thousands of people a year,
without evidence, without being exposed... it would be
the greatest criminal conspiracy in the history of civilisation.
AUSBURY TURNS TO HIS COLLEAGUES, THEN BACK.
HE WALKS TOWARDS MULDER AND SCULLY.
AUSBURY: Finally, you people understand what we're up against.
MULDER: (LOOKS AT SCULLY, MAKES QUICK DECISION)
Our investigation is ongoing.
MULDER REACHES TO SCULLY, TO DRAW HER AWAY.
SHE GOES, BUT LOOKS BACK IN SHEER DISBELIEF
AT AUSBURY. AUSBURY LOOKS BACK AT THE OTHERS.
9. INT. DAY. SCHOOL CORRIDOR
THE AGENTS TURN INTO THE CORRIDOR. MULDER
CROSSES TO A DRINKING FOUNTAIN AND BENDS TO DRINK.
SCULLY: (EXASPERATED) Mulder, this is mass hysteria.
And our presence here on a routine homicide only gives validity
to their fears of occult murder.
MULDER STOPS DRINKING, PAUSES, NOTICES SOMETHING.
CU TO SHOT OF WATER SWIRLING DOWN DRAIN OF
DRINKING FOUNTAIN.
MULDER: (HALF TO HIMSELF) The water...
SCULLY: What's wrong with it?
MULDER: It's going down the drain counter-clockwise!
Coriolis force in the Northern Hemisphere dictates that it
should go down clockwise.
SCULLY: That isn't possible.
MULDER: Something's here, Scully.
Something is making these things possible.
SCULLY LOOKS AGAIN AT THE WATER, PUZZLED.
10. INT. DAY. SCIENCE LAB
SCHOOL BELL SOUNDS IN THE BACKGROUND.
MCU OF MRS PADDOCK AS STUDENTS FILE OUT,
PASSING HER PAPERS. CUT TO MLS FROM BEHIND HER,
WE SEE THAT KATE AND ANDREA ARE THE LAST TO GO.
PADDOCK: Girls... may I have a word? (THEY LOOK NERVOUS,
UNCERTAIN, BUT COME OVER WARILY. MRS PADDOCK
IS THE PICTURE OF CONCERN. SHE SAYS KINDLY)
I heard on the grapevine what happened, and, well, I know
how hard it is to talk to adults sometimes, even though you feel
like you want to... (THE GIRLS HAVE "WHERE IS THIS GOING"
EXPRESSIONS) ...well, because you're young adults... What I'm
trying to say is, if you feel like talking, I'm here to listen, ok?
(SMILES)
THE GIRLS SMILE WANLY.
ANDREA: (SUBDUED, BUT GENUINE) Thanks Mrs Paddock.
KATE MURMURS ACQUIESCENCE.
PADDOCK: Hang in there.
THE GIRLS TURN AND LEAVE. MRS PADDOCK STRAIGHTENS
THE PAPERS IN HER HAND. WE FOLLOW HER HAND DOWN
AS SHE REACHES TO HER DESK DRAWER, WHICH OPENS
TO REVEAL A DISSECTING TRAY CONTAINING A FRESH
AND BLOODY HUMAN HEART AND TWO EYEBALLS.
SHE PLACES THE PAPERS ON TOP AND SHUTS THE DRAWER.
WE PAN UP TO SEE HER SMILING INTO THE DISTANCE.
(ad break)
11. EXT. DAY. OUTSIDE SCHOOL
BRIEF SHOT KIDS WALKING AWAY, SAYING GOODBYES ETC.
12. INT. DAY. RECEPTION AREA OUTSIDE CALCAGNI'S OFFICE
CAPTION: CROWLEY HIGH SCHOOL PSYCHOLOGIST'S OFFICE
SCULLY IS AT A DESK, WORKING AT A LAPTOP COMPUTER,
OTHER STAFF GOING ABOUT THEIR BUSINESS AROUND HER.
PAN PAST HER TO THE WINDOW OF CALCAGNI'S OFFICE,
WHERE WE CAN SEE MULDER AND CALCAGNI, SEATED,
IN CONVERSATION.
13. INT. DAY. CALCAGNI'S OFFICE.
MULDER: (LOOKING THROUGH NOTES) Your records indicate
a high incidence of students complaining of depression, headaches,
eating disorders...?
CALCAGNI: This is high school. (SMILES, NODS).
It's normal for students to display abnormal behaviour.
MULDER: (LOOKS UP) I'm assuming you're familiar with the
early indications of repressed memory?
CALCAGNI: Just because a student has a headache doesn't
mean he's repressing a memory.
MULDER: In your counselling you've found no evidence of past
ritual abuse?
CALCAGNI: (SHAKES HEAD) None.
MULDER GETS UP, WALKS TO THE DOOR AND OPENS IT,
THEN TURNS BACK TO CALCAGNI
MULDER: Would it be possible for me to speak to any of the
students who've had chronic complaints?
CALCAGNI: That would be a betrayal of the doctor-patient relationship.
(SHAKES HEAD AGAIN) Sorry.
MULDER LOOKS AT HIM THOUGHTFULLY, THEN LEAVES,
SHUTTING THE DOOR BEHIND HIM. CUT TO
14. INT. DAY. RECEPTION AREA OUTSIDE CALCAGNI'S OFFICE
MULDER COMING OUT OF THE OFFICE, WALKING ROUND TO
WHERE SCULLY IS. SHE CONTINUES CONCENTRATING ON
THE LAPTOP.
MULDER: For the body of student of complaints, he was pretty
quick to dismiss my concerns.
SCULLY: Maybe there's nothing here.
MULDER: (LOOKS BACK AT THE OFFICE, THEN AT SCULLY)
Well, he's hiding something.
SCULLY: Take a look at this. (MULDER STEPS ROUND TO
LOOK AT THE SCREEN) I found this on the Internet (POINTS,
RUNS FINGER ALONG SCREEN AS SHE SPEAKS.
CUT TO CU OF SCREEN: ITEM UNDER NEWSBYTES:
CURRENT EVENTS. TEXT IS DATED 1934. SCULLY READS
ITEM AS WE SEE IT, WE CUT BACK TO HER ABOUT HALFWAY
THROUGH. SCULLY READS:) "The discovery yesterday of a
mutilated teenaged boy in the forest has police officials distressed
about the possibility of a conspiratorial organization of Dark Forces."
MULDER: (INTEREST QUICKENS) Where's that pulled from --
the local paper?
SCULLY: (READING) "The Jew is known to remove organs and
sacrifice teens in their religious ceremonies". (TO MULDER)
It's taken from "Volkischer Beobacter", a Nazi newspaper in 1934.
The rumours are the same, but the blanks have been filled in
with whoever must be feared or persecuted at the time.
In this case, it's occultists.
MULDER CROUCHES DOWN BY THE DESK,
LOOKS AT HER SERIOUSLY.
MULDER: Modern witches, known as Wicca, are a religion.
They have a great reverence for all life in Nature, they do not cast
harmful spells, they don't worship Satan. Even the Church of Satan
has renounced murder and torture. Their influence here wouldn't
account for the frogs, or the water draining backwards, or most
importantly, the murder.
SCULLY: Well, if not witches, then what?
15. INT. DAY. SCIENCE LAB
MRS PADDOCK IS WHEELING AROUND A TROLLEY HOLDING
A LARGE GLASS TANK FILLED WITH WHAT LOOKS LIKE DEAD
PIGLETS. SHE IS DOLING THEM OUT TO THE STUDENTS AS
SHE GOES.
PADDOCK: For your final examination, one-half of your grade will be
based on your diagram of a dissected pig embryo. (SHE HANDS
ONE TO SHANNON AUSBURY, WHO LOOKS AT IT WITH SOME
REVULSION. THE BOY NEXT TO SHANNON LOOKS AT IT
UNEASILY, THEN BACK AT SHANNON WHO LOOKS FAINTLY ILL)
Of course, these are actually hog embryos, belonging to the order
of the archeodactyl (??), or creatures with hooves. Be sure to
remove the heart and lungs and draw a diagram of each. Be neat.
(MRS PADDOCK STOPS HER TROLLEY BY A GLASS TANK
CONTAINING A HUGE SNAKE. SHE OPENS THE LID AND
TOSSES IN A DEAD HOG AS SHE TALKS) Extra credit will
be given for dissecting the heart. (WE HEAR STUDENT GROANS
IN BACKGROUND. SHE SMILES AT THE SNAKE, THEN
CROSSES TO THE FRONT OF THE ROOM)
You have until the end of the period.
MCU ON SHANNON, WHO IS NOW LOOKING QUITE ILL,
TWITCHING A LITTLE, LOOKS READY TO VOMIT.
BOY: I'll cut it open... if you do the heart.
SHANNON NODS, CAN'T TAKE HER EYES OFF THE HOG,
CLOSES HER EYES AS WE HEAR THE SQUELCHY SOUND
OF IT BEING CUT OPEN. CUT TO CU OF THE EMBRYO WITH
ITS GUTS SHOWING. CUT BACK TO ECU ON SHANNON,
SWEATING, HER EYES START OPEN, SHE GASPS, MAKES
OTHER NOISE OF DISTRESS. CUT TO PADDOCK, LOOKING
UP SHARPLY. CUT BACK TO SHANNON, OBVIOUSLY VERY
DISTRESSED. ECU ON EMBRYO HEART, WHICH BEATS.
ECU ON SHANNON, WHO IS GASPING AS IF SHE CANNOT
BREATHE. CU ON THE EMBRYO, WHICH MOVES ITS HEAD
FROM SIDE TO SIDE. WE HEAR A SQUEAL WHICH TURNS
INTO SHANNON (IN CU) SCREAMING. BRIEF SHOT OF OTHER
KIDS IN THE CLASS, STARTLED, LOOKING ROUND.
BACK TO SHANNON, WHO SCREAMS AGAIN AND AGAIN.
CUT TO PADDOCK, LOOKING ON DISPASSIONATELY.
BACK TO SHANNON WHOSE SCREAMS ARE MIXED WITH
HYSTERICAL SOBS. BACK TO PADDOCK, WHO HAS A
KNOWING LOOK ON HER FACE.
16. INT. DAY. RECEPTION AREA OUTSIDE CALCAGNI'S OFFICE
SHANNON IS SEATED ON A COUCH, WRAPPED IN A BLANKET,
STILL OBVIOUSLY DISTRESSED BUT QUIET NOW. SHE ROCKS
GENTLY BACK AND FORTH, OBLIVIOUS TO EVERYTHING
AROUND HER. PADDOCK IS SITTING BESIDE HER.
SHE REACHES OUT AND STROKES SHANNON'S HAIR.
PADDOCK: (KINDLY) I've had this happen before.
Some kids just have trouble dissecting things.
CALCAGNI WALKS OVER TO THEM.
CALCAGNI: Shannon -- I'm trying to reach your father and get him
to pick you up.
SHANNON: (BECOMES AWARE OF SURROUNDINGS) No!
SHE JERKS BACK. MULDER AND SCULLY, IN A CORNER OF
THE AREA, NOTICE IMMEDIATELY. CALCAGNI CROUCHES
DOWN IN FRONT OF HER, TAKES HER HANDS REASSURINGLY.
CALCAGNI: I'm sure he'll be here soon.
SHANNON: (SHOUTS) No!
SHE WRENCHES HERSELF AWAY, GETS UP, RUNS OUT OF
THE OFFICE. MULDER FOLLOWS HER.
CALCAGNI: Shannon, honey, come back!
PADDOCK: Shannon? Shannon!
17. INT. DAY. SCHOOL CORRIDOR
SHANNON RUNS DOWN THE HALL, SOBBING WILDLY.
MULDER RUNS AFTER HER.
MULDER: Shannon! You're remembering!
(SHANNON SLOWS, HALTS JUST PAST THE DRINKING FOUNTAIN.
SHE IS CRYING AGAIN, BUT MORE CONTROLLED THIS TIME.
MULDER WALKS SLOWLY TOWARD HER, VERY CONCERNED.
HE SAYS SOFTLY) Tell me what you're remembering.
18. EXT. DAY. BENCHES OUTSIDE SCHOOL,
AWAY FROM THE MAIN BUILDING
SHANNON IS SITTING HUDDLED ON ONE SET OF BENCHES,
FACING A VERY CONCERNED SCULLY SITTING OPPOSITE HER.
MULDER STANDS BY SCULLY'S SIDE. SHANNON'S CRYING
AND DISTRESS ESCALATES DURING THE SCENE; SHE HAS
TROUBLE SPEAKING, THIS IS VERY HARD FOR HER.
SHE IS CLEARLY FINDING THIS VERY PAINFUL.
SHANNON: (SOBBING, HALTINGLY) You know who my stepdad is,
right? (MULDER AND SCULLY NOD) Jim Ausbury on the PTC.
(DEEP BREATH). All right, well, my Mom, she's a teacher.
Well, was a teacher. My real Dad, he uh, he ran away, and
my Mom met Jim at some seminar or something... and they
um, they got married. My sister and I moved up here when I was
about... um, four. She was about two. Anyway... (OVER SHOT
OF SCULLY, VERY CONCERNED, LISTENING) ... a, a couple
of weeks ago, my class, we took a field trip to what they call the
American Stonehenge... and... and.. I remembered when I was
four years old, Jim took me in his car near there, and he um...
he made me... in the back seat... (MULDER AND SCULLY
EXCHANGE GLANCES; SHANNON'S DISTRESS INCREASING)
...he told me that if I ever told anybody that he would hurt me...
As he touched me, well, I would pretend that I was like,
out of my body. Deep in the ocean, down with the fish,
in the dark water... Somehow, I don't know, I managed to block
out all these things, but... lately it's all been...
I'm remembering, you know? The others too.
SCULLY: Others?
MULDER LOOKS QUICKLY AT HER, THEN BACK TO SHANNON
SHANNON: ...Yeah... Men and women. They would...
come to the house, you know, when my Mom was away?
And they would.. uh... take me down to the basement...
(BRIEF SHOT OF MULDER, LISTENING DISPASSIONATELY)
It was really dark... it was like painted red, with a dirt floor.
They would wear these robes, black and red and they would
... sing, and they would chant, and then they would tie me
and my sister up, these men and women... they would make us
... do things. They called me a breeder! (RENEWED TEARS)
They would get me pregnant, and then they would kill the babies...
(SCULLY LOOKS AT MULDER, HER EXPRESSION UNREADABLE)
...I've had three children, and they're all buried in the cellar.
(MULDER LOWERS HIS EYES) One night, Jim murdered
my sister for a sacrifice. She was only eight years old!
He told everybody that she died in an accident. (SCULLY MOVES
TO SIT BESIDE HER; MULDER NOW LOOKS PAINED, THE STORY
HAS TOUCHED A NERVE IN HIM)
...Today brought it all back, clear like it happened yesterday...
SHE MOVES TOWARD SCULLY, WHO HOLDS HER AS SHE
GOES INTO A FRESH BURST OF SOBBING. (ad break)
19. EXT. DAY. AUSBURY RESIDENCE
A QUIET, SUBURBAN STREET. MULDER AND SCULLY'S
CAR PULLS INTO THE AUSBURY'S DRIVEWAY, WE HEAR
THEIR VOICES OVER.
MULDER: Imagine... if what she said is true...
SCULLY: Why don't we just wait and see what her parents have to say?
THE CAR STOPS, THEY GET OUT AND WALK TOWARDS THE
FRONT DOOR. THEY GET ABOUT HALFWAY ALONG THE PATH
WHEN THE DOOR OPENS AND JIM AUSBURY HURRIES OUT
TO MEET THEM. MRS AUSBURY IS VISIBLE BEHIND HIM.
SHE STAYS IN THE DOORWAY, HUGGING HER CARDIGAN TO HER.
AUSBURY: (WORRIED, AGITATED) Where's Shannon?
They told me you were bringing her home.
SCULLY: She wanted to remain with friends.
And... under the circumstances, we thought it best.
AUSBURY: Circumstances?
Why wouldn't she want to come home?
20. INT. DAY. LIVING ROOM, AUSBURY RESIDENCE
CU AUSBURY, CLEARLY VERY SHAKEN. MRS AUSBURY'S
SOBBING CAN BE HEARD IN THE BACKGROUND.
AUSBURY: Someone, or something, has obviously put these
things into her mind.
HE LOOKS AT MULDER, WHO CATCHES SCULLY'S EYE AND
NODS SILENTLY TOWARDS THE KITCHEN.
SCULLY: Mrs Ausbury? Er, perhaps you'd like a glass of water.
WE SEE MRS AUSBURY, OVERCOME, SOBBING QUIETLY.
SHE MANAGES A TINY NOD. SHE IS BARELY AUDIBLE.
MRS AUSBURY: ...Yes, thank you...
MAKES VISIBLE EFFORT TO PULL HERSELF TOGETHER.
MLS OF ROOM, WE SEE THAT THE AUSBURY'S ARE
SITTING SIDE BY SIDE ON A COUCH, SCULLY SITTING
ON A CHAIR OPPOSITE THEM, MULDER STANDING TO
ONE SIDE OF JIM AUSBURY.
MULDER: Mr Ausbury?
HE MOTIONS TOWARD THE KITCHEN. AUSBURY LOOKS AT
HIS WIFE IN CONCERN, HE CLEARLY DOESN'T WANT TO
LEAVE HER, BUT GETS UP AND WALKS OUT OF SHOT.
MULDER FOLLOWS. MRS AUSBURY IS LEFT HUGGING
HERSELF NERVOUSLY, STILL UPSET BUT CALMER.
SCULLY SHIFTS IN HER SEAT.
SCULLY: Mrs Ausbury... your daughter has not accused you of
any involvement in these activities. (MRS AUSBURY SHAKES HER
HEAD SLIGHTLY) Do you have any idea why Shannon might have
said these things?
MRS AUSBURY: (SIGHS) Jim and I have been having...
marriage problems, lately... we're committed to working them out.
Maybe we haven't been... paying enough attention to Shannon.
(PAUSES AS IF DECIDING WHETHER TO SPEAK FURTHER)
She and I don't... we don't get along. We fight.
SCULLY: Have you ever known Shannon to be pregnant?
MRS AUSBURY: Of course not! (DEFENSIVE)
She's fifteen years old! How can you possibly believe such--
SCULLY: Have you ever had another child?
MRS AUSBURY: (VISIBLY STARTLED, NODS)
A girl. Theresa... (QUIET) She died.
SCULLY: At eight years old?
MRS AUSBURY: (SHAKING HER HEAD GENTLY, IN AN OLD
SADNESS) Eight weeks. (SOFT) It was crib death.
SCULLY SIGHS.
21. INT. DAY. KITCHEN, AUSBURY RESIDENCE
CU GLASS UNDER TAP, OVERFLOWING. A HAND TURNS THE
TAP OFF, PAN UP TO AUSBURY'S FACE. MULDER STANDS
BEHIND HIM, WALKS CLOSER.
MULDER: Did you do it?
AUSBURY TURNS TO LOOK AT HIM, THE BEGINNINGS OF
SHOCK AND ANGER ON HIS FACE. THE GLASS IN HIS HAND
SHATTERS, THE NOISE STARTLING THEM BOTH. HE DROPS
THE REMAINDER OF THE GLASS INTO THE SINK.
AUSBURY: (CONTROLLED, BUT VERY ANGRY)
I would kill anyone who did the things to her that she claims.
HE TURNS AND WALKS TO THE OTHER SIDE OF THE
KITCHEN, BEGINS CLEANING HIS HAND UP ON A TEATOWEL.
MULDER'S ATTENTION IS CAUGHT BY SOMETHING OUT OF
SHOT ON THE OPPOSITE SIDE OF THE ROOM.
HE WALKS TOWARD IT.
MULDER: That's not a very Christian tenet.
WE SEE HIM OVER BY A WOODEN DOOR. HE OPENS IT.
AUSBURY DOESN'T NOTICE.
AUSBURY: Thou -- God of Vengeance -- shine forth.
(BITTERLY)
MULDER'S POV: LOOKING DOWN A FLIGHT OF STEPS INTO
A CELLAR.
MULDER: Even the Devil can quote scripture to fit his needs.
AUSBURY TURNS AND SEES WHAT MULDER IS DOING.
THE DOOR SLAMS SHUT BY ITSELF, STARTLING MULDER.
AUSBURY DOESN'T SEEM TO NOTICE. HE IS FURIOUS, SHOUTING.
AUSBURY: How dare you! Get out of our house!
(GESTURES ABRUPTLY). As far as I know, you put those
ideas in my daughter's head. Now get -- out!
(MULDER, LOOKING LESS CERTAIN THAN BEFORE,
MOVES TO LEAVE. AUSBURY WATCHES HIM GO)
The Devil travels in many forms. And you may be one!
22. INT. DAY. SCIENCE LAB
MCU MRS PADDOCK, LOOKING CONCERNED.
PADDOCK: (KINDLY) Are you sure you're up to this, Shannon?
I heard about what you said.
SHANNON IS AT HER BENCH, WITH A FRESH HOG EMBRYO
ON A TRAY IN FRONT OF HER. MRS PADDOCK STANDS
ON THE OTHER SIDE OF THE BENCH.
SHANNON: I'll be OK. (SMILES BRAVELY)
I don't want to miss the final. (PADDOCK SMILES)
PADDOCK: I'll be in my office, if you're feeling funny. (THEY
EXCHANGE SMILES, PADDOCK STARTS TO WALK OUT
THEN TURNS BACK) Maybe you ought to remove your jewelry.
You wouldn't want to lose it in some pig's guts.
(SHANNON GRINS, TAKES OFF HER BRACELET AND HANDS
IT OVER) I'll hold it for you until you're finished.
PADDOCK WALKS BACK TO HER OFFICE.
SHANNON BREATHES DEEPLY, STEELS HERSELF FOR THE JOB.
CUT TO HER POV OF THE EMBRYO ON THE TRAY.
CUT TO SHANNON AGAIN; OVER HER SHOULDER,
WE CAN SEE PADDOCK IN HER OFFICE, LOOKING OUT.
SHE CLOSES THE VENETIAN BLINDS.
23. INT. DAY. PADDOCK'S OFFICE
CU OF A CANDLE, FLICKERING. A HAND RISES IN FRONT OF
IT AND STOPS JUST OVER THE FLAME. IT IS HOLDING
SHANNON'S CHARM BRACELET. WE HEAR WEIRD
ANIMALISTIC GROANS. PAN UP TO MRS PADDOCK'S FACE.
SHE IS SWEATING, EYES STARING FIXEDLY, BREATHING
IN A LABOURED AND WEIRD-SOUNDING WAY.
24. INT. DAY. SCIENCE LAB
SHANNON LOOKS DOWN AT THE EMBRYO.
SHE SEEMS STRANGELY CALM, ALMOST AS IF SHE IS
MAKING A DECISION. SHE PICKS UP A SCALPEL AND
LOOKS AT IT.
25. INT. DAY. PADDOCK'S OFFICE
GROANS, BREATHING NOISES ETC. PADDOCK'S OTHER HAND,
SHAKING, RISES FROM HER DESKTOP. SHE BRINGS IT UP
SLOWLY IN FRONT OF HER FACE, THEN PINCHES THE THUMB
AND FOREFINGER TOGETHER AS IF SHE IS HOLDING
SOMETHING BETWEEN THEM.
26. INT. DAY. SCIENCE LAB
CU SHANNON'S HAND WITH SCALPEL, HELD BETWEEN HER
THUMB AND FOREFINGER, ECHOING PADDOCK'S GESTURE.
27. INT. DAY. PADDOCK'S OFFICE
PADDOCK LOWERS THE HAND UNTIL IT RESTS UNDER
THE WRIST OF THE HAND OVER THE FLAME.
28. INT. DAY. SCIENCE LAB
CU SHANNON'S HAND WITH THE SCALPEL, MOVING TO REST
GENTLY AGAINST THE UNDERSIDE OF HER OTHER WRIST.
29. INT. DAY. PADDOCK'S OFFICE
CU PADDOCK'S FACE, THEN HER HAND AS SHE MAKES A
VIOLENT SLASHING GESTURE UNDER HER OUTSTRETCHED
WRIST. CU ON HER FACE AS WE HEAR A SCREAM FROM
OUTSIDE. CUT TO BRACELET FALLING ONTO DESKTOP;
THE SCREAM SEEMS TO DIE AS IT LANDS.
30. INT. DAY. SCIENCE LAB
CURVING PAN FROM ABOVE, SHOWING SHANNON SPRAWLED
FACE DOWN ON THE FLOOR OF THE LAB, HER STOOL
KNOCKED OVER, PIG EMBRYO AND TRAY ON THE FLOOR
NEXT TO HER, BLOOD POOLING UNDER HER WRIST.
THE SOUND OF PADDOCK'S BREATHING SUBSIDES AS WE
GET CLOSER TO SHANNON. (ad break)
31. INT. NIGHT. SCIENCE LAB
LIGHTNING AND THUNDER GOING ON OUTSIDE, THE FLASHES
VISIBLE EVEN IN THE LIT ROOM, WHICH IS FULL OF POLICEMEN
EXAMINING THINGS. SCULLY IS TALKING TO A SEEMINGLY
DISTRAUGHT MRS PADDOCK AND MAKING NOTES. MULDER
IS EXAMINING THE SNAKE'S TANK. HE STRAIGHTENS UP AND
LOOKS OVER AT SCULLY AND PADDOCK.
PADDOCK: (UPSET)
I heard the crash, and the chair, and came running out of the office.
SCULLY: Did you see anybody leaving the room?
(MULDER LOOKS OVER AT HER AGAIN, THEN WALKS
TOWARDS HER OFFICE. PADDOCK DOESN'T NOTICE;
SHE SHAKES HER HEAD IN RESPONSE TO SCULLY'S
QUESTIONING) Did you hear the door open?
PADDOCK: I lock the doors after school, when I'm alone.
I... I get afraid.
32. INT. NIGHT. PADDOCK'S OFFICE
MULDER WANDERS IN, LOOKS AROUND. HE NOTICES
SHANNON'S BRACELET ON THE DESK AND PICKS IT UP.
33. EXT. NIGHT. CAR PARK OUTSIDE SCHOOL
AUSBURY, DEBORAH, VITARIS AND CALCAGNI ARE STANDING
IN THE RAIN, HUDDLED UNDER UMBRELLAS, WATCHING THE
POLICE CARS AND OTHER ACTIVITY NEAR THE SCHOOL.
DEBORAH: I feel a dark angel is amongst us. It wants a sacrifice.
VITARIS: (INCREDULOUSLY) It's been years since we've done that.
CALCAGNI: Exactly. Exactly. We haven't kept our faith.
AUSBURY: (SHAKEN, ANGRY) Are any of you... responsible
... for my daughter? (HE DOES NOT LOOK AT THEM AS HE ASKS)
CALCAGNI: We all are. (AUSBURY LOOKS SHARPLY AT HIM)
She was sacrificed... (HE LOOKS INTENTLY AT EACH OTHER
MEMBER OF THE GROUP AS HE SPEAKS) ...for us.
It's a portent. Shannon's death allows us to get rid of the police,
the FBI... it can all be blamed on her. (AUSBURY IS SPEECHLESS)
DEBORAH: Jim. You tell them she had a thing for Jerry Stevens.
She killed him out of jealousy.
VITARIS: (SLOWLY, AS IF THINKING IT OUT AS HE SPEAKS)
She cut out his eyes, because she couldn't stand to have him look
at another girl. And his heart, because she was heartbroken.
(AUSBURY IS STONE-FACED)
CALCAGNI: When they leave, and they're gone, we must rekindle
our faith rather than lose it.
LIGHTNING FLASHES, ILLUMINATING AUSBURY.
THUNDER AS HE TURNS AND STARES AT THE OTHERS.
34. INT. NIGHT. SCIENCE LAB
MCU PADDOCK, WET-EYED, TEAR TRACKS ON HER CHEEKS.
PADDOCK: I never imagined she would hurt herself like that.
I'm old-fashioned, Agent Scully, I can't bring myself to believe
children are capable of such things as they are these days.
(SHE LOOKS AWAY, STIFLES A SOB. SCULLY REMAINS
IMPASSIVE. PADDOCK NOTICES MULDER WHO HAS
RETURNED AND IS HOLDING SHANNON'S BRACELET.
HE LOOKS UP, MEETS HER GAZE)
She wanted me to hold that for her.
MULDER LOOKS AGAIN AT THE BRACELET,
THEN MOTIONS SILENTLY TO SCULLY.
SCULLY: (TO PADDOCK) Excuse me...
SHE PUTS HER PEN DOWN ON A BENCH, THEN WALKS
AWAY WITH MULDER. THEY SPEAK QUIETLY.
MULDER: Her office has a faint odour of incense.
(LOOKS BACK AT THE DISTRAUGHT PADDOCK).
SCULLY: She says it's to block the smell of formaldehyde.
MULDER: It's also used in Black Mass rituals.
SCULLY: Well, I've got to admit there are some oddities to her story.
MULDER: What do you mean, oddities?
SCULLY: Well, the man she replaced has taken two sick days in a
fifteen-year career. The morning of Jerry Stevens' murder Mr Kingary
(???) developed necrotizing fasciitis.
MULDER: Flesh-eating bacteria? (APPRECIATIVELY)
That's very rare.
SCULLY: I know. And when I questioned the other staff members
about Mrs Paddock's background, no-one can even recall hiring her.
(BIG LIGHTNING CRASH. THEY BOTH LOOK UP, STARTLED,
THEN BACK AT EACH OTHER. CUT TO PADDOCK STARING
OVER AT THEM. SHE TURNS BACK TO LOOK AT THE BENCH
IN FRONT OF HER, SLOWLY FOCUSING ON SCULLY'S PEN)
Oh, look, I'm even getting caught up in this. I mean I'm...
I'm sure that Mrs Paddock's arrival and the teacher's sickness
is just a coincidence. And the fact that no-one can recall hiring her
-- it's just a bureaucratic oversight.
MULDER: No, I've got a feeling this is something we both should
get caught up in. I'm going to get a search warrant for the Ausbury
house -- I've been told they're staying with friends. (HE GLANCES
OVER AT PADDOCK) You check deeper into Mrs Paddock.
MORE LIGHTNING. THIS TIME THE LIGHTS GO OUT.
COP (VO): Power's out.
MRS PADDOCK REACHES FORWARD AND GRABS THE PEN,
HOLDING IT IN BOTH HANDS AS SHE WATCHES MULDER AND
SCULLY.
35. INT. NIGHT. KITCHEN, AUSBURY RESIDENCE
IT IS VERY DARK. MULDER ENTERS WITH HIS FLASHLIGHT,
WALKS OVER TO THE CELLAR DOOR, NOTING IT IS BOLTED SHUT.
HE OPENS IT, SHINES HIS TORCH DOWN THE STAIRCASE AND
GOES DOWN.
36. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
MULDER REACHES THE BOTTOM OF THE STEPS AND WALKS
AROUND THE CELLAR, SHINING THE LIGHT AROUND. WE SEE
THAT IT HAS A DIRT FLOOR AND RED WALLS. HE TURNS SHARPLY.
AUSBURY IS STANDING BEHIND HIM.
37. INT. NIGHT. RECEPTION AREA OUTSIDE CALCAGNI'S OFFICE
SCULLY IS WORKING ON HER LAPTOP AGAIN. THE LIGHT FROM
THE COMPUTER AND OCCASIONAL LIGHTNING FLASHES ARE
THE ONLY ILLUMINATION. CU OF THE COMPTER SCREEN
REVEALS SHE IS DOING A NAME SEARCH FOR "PADDOCK,
PHYLLIS H." THE COMPUTER SEARCHES, THEN COMES UP
WITH THE RESULTS "Prior arrests: None" and "Outstanding warrants:
None". CU SCULLY, "HMM"-ING, DEEP IN THOUGHT.
38. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
AUSBURY IS LOOKING AT THE WALL,
MULDER STANDS IMPASSIVELY BEHIND HIM.
AUSBURY: My religion, my family, Agent Mulder, goes back in this
town seven generations. They fled persecution from people being
persecuted, all in the name of religion. (SAID WITH DISTASTE.
HE TURNS TO FACE MULDER) I was raised to believe Christianity
was synonymous with hypocrisy. Man's natural tendency was to
do as thou wilst, not do unto others. (HE WALKS SLOWLY PAST
MULDER. MULDER TURNS, WATCHING HIM) We believe...
Man is nothing but an animal, no better, no worse, than those
who walk on four legs. And though I believed our faith kept us
powerful in the community, wealthy, good health, I...
I came to see hypocrisy in the others. (HE TURNS TO LOOK AT
MULDER) In me. (EMPHATICALLY) When they told me to blame
my dead daughter for Jerry Stevens' death, my reaction...
I was sick that they would villify an innocent...
someone I loved... (BECOMING EMOTIONAL) just to
protect themselves. And at that moment, I knew... I am
better than an animal! That my... previous beliefs were
responsible... for her no longer being with us.
And that it was time to talk to you.
MULDER NODS SYMPATHETICALLY.
39. INT. NIGHT. PADDOCK'S OFFICE
LIGHTNING, THUNDER. PADDOCK IS IN ANIMALISTIC
GROANING MODE AGAIN, HOLDING SCULLY'S PEN OVER
THE CANDLE.
40. INT. NIGHT. RECEPTION AREA OUTSIDE CALCAGNI'S OFFICE
CU SCULLY LOOKING THOUGHTFULLY AT THE LAPTOP.
CU SCREEN, SHOWING THE RESULTS OF A WORK SEARCH
ON PADDOCK. THERE IS A LIST OF LEGITIMATE-LOOKING
TEACHING JOBS STRETCHING FROM 1974 TO THE PRESENT.
SCULLY: (TO HERSELF) Clean.
41. INT. NIGHT. PADDOCK'S OFFICE
PADDOCK'S HAND OVER THE CANDLE.
GROANS, BREATHING, SHAKING, SWEATING AS BEFORE.
42. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
MULDER IS PACING UP AND DOWN.
AUSBURY LOOKS RESOLVED, SOMEHOW AT PEACE.
MULDER: Did you abuse Shannon?
AUSBURY: (EMPHATIC) Never sexually.
MULDER: The rituals.
AUSBURY: (SIGHS). The blood of the young is considered very
powerful. We'd include them in the ceremonies... against their will.
(MULDER LOOKS AWAY IN DISGUST) They were too young to be
trusted not to talk. (EMPHATIC) But we never physically hurt them.
We'd slip over the ancient rituals that we didn't want to do.
MULDER: Like... drinking grape juice instead of wine at Communion?
(AUSBURY HALF-NODS, WALKS AWAY) What about Shannon's
memories? (AUSBURY TURNS BACK.)
AUSBURY: We'd perform a sort of post-hypnotic suggestion that
repressed their memories. (MULDER DISGUSTED AS BEFORE)
When they came of age, eighteen, twenty-one, then they were
made aware of the religion, and brought into its practice.
When she recalled the past events, she must have mixed up reality
with... with that crap that's on Geraldo and the tabloids.
MULDER: Did the others kill Jerry Stevens?
(AUSBURY SHAKES HIS HEAD) Shannon?
AUSBURY: (TINIEST OF PAUSES, BUT ANSWERS EMPHATICALLY)
No.
MULDER: But you are responsible. You knew the possibilities
contained in your beliefs, no matter how watered down. (AUSBURY
IS IMPASSIVE, STONY-FACED) Did you really think you could
call up the Devil and ask him to behave?
43. INT. NIGHT. PADDOCK'S OFFICE
PADDOCK, GROANING, BREATHING ETC, STRETCHES OUT
A HAND STIFFLY AND KNOCKS THE RECEIVER OFF HER
TELEPHONE. SHE JERKILY STABS OUT A SEQUENCE OF
NUMBERS, THEN PICKS UP THE RECEIVER.
44. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
MULDER: Who are the others? (MULDER'S PHONE RINGS TWICE.
HE HAULS IT OUT OF HIS POCKET EXASPERATEDLY) Yeah?
(WE HEAR SCULLY'S VOICE, FAINT AND SCARED)
SCULLY (VO): Mulder... the school... I'm in trouble.
WE HEAR A BUZZ OF STATIC, AND SHE IS CUT OFF
MULDER: Scully? (HE PACKS THE PHONE AWAY)
I've got an emergency. (HE TAKES AUSBURY BY THE ARM
AND LEADS HIM UNPROTESTINGLY TO THE STAIRCASE)
I'm placing you under arrest. (HE HANDCUFFS AUSBURY
TO THE BANNISTER AND PUTS HIS TORCH DOWN ON THE
STAIRS) I'll be back for you later.
HE DASHES UP THE STAIRS, CLOSES THE DOOR AND BOLTS IT.
AUSBURY WATCHES HIM GO.
45. EXT. NIGHT. AUSBURY RESIDENCE
MULDER RUNS OUT OF THE FRONT DOOR, GETS INTO THE
CAR AND BACKS IT OUT OF THE DRIVEWAY IN A TEARING
HURRY.
46. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
AUSBURY, SITTING ON THE FLOOR NEXT TO THE STAIRS,
IS CRYING. HE IS THE PICTURE OF DESPAIR. THE CAMERA
PANS UP HIS CUFFED ARM TO THE TOP OF THE STAIRS.
CUT TO CU OF THE BOLT, WHICH SUDDENLY SLIDES OPEN.
MCU OF THE DOOR CREAKING QUIETLY OPEN; THERE IS
NOBODY THERE. AUSBURY DOES NOT NOTICE. CU TOP STEP:
THE SNAKE FROM THE LAB SLIDES INTO VIEW AND STARTS
MAKING ITS WAY DOWN THE STAIRS. WE FOLLOW IT DOWN,
WATCHING PAST AUSBURY WHO REMAINS UNAWARE OF IT
UNTIL IT SLIDES OVER HIS RIGHT SHOULDER AND AROUND
HIS NECK. HE YELLS IN FRIGHT AND TRIES TO SHAKE IT OFF,
BUT IT WINDS AROUND AND AROUND HIS NECK AND BODY.
WE SEE HIM TRYING TO PULL IT OFF, THEN HEAR HIM
STARTING TO CHOKE; FAINT CRACKING SOUNDS CAN BE
HEARD, IMPLYING HIS BONES BEING CRUSHED PERHAPS.
47. EXT. NIGHT. CAR PARK OUTSIDE SCHOOL
MULDER'S CAR PULLS UP. HE LEAPS OUT, AND RUNS
INTO THE BUILDING, GETTING HIS GUN OUT AS HE GOES.
48. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
CU ON AUSBURY'S FACE AS HE CHOKES, BONE NOISES
STILL EVIDENT. HE IS FINALLY STILL. THE SNAKE SLIDES
DOWN ONTO THE CELLAR FLOOR, THEN TURNS TO FACE
AUSBURY'S FOOT AND WIDENS ITS JAWS.
49. INT. NIGHT. DOOR OF RECEPTION AREA OUTSIDE
CALCAGNI'S OFFICE
MULDER, GUN OUT, OPENS THE DOOR AND ENTERS THE
RECEPTION AREA. SCULLY IS STILL AT THE DESK.
MULDER: Scully!
SCULLY: (LOOKS UP, STARTLED) Mulder! What's wrong?
MULDER: (LOWERING GUN) You called me!
You said you were in trouble.
SCULLY: No, I didn't touch the phone.
(MULDER LOOKS BEMUSED.)
50. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
CU ON THE SNAKE'S HEAD, ATOP A HIDEOUSLY ENGORGED
BODY, AS IT CLOSES ITS MOUTH.
51. INT. NIGHT. PADDOCK'S OFFICE
CU ON PADDOCK'S FACE, SHE LOOKS ALMOST IN PAIN.
SHE HOLDS THE CANDLE UP TO HER FACE, LICKS HER LIPS
QUICKLY, THEN OPENS HER EYES. THEY ARE NOT HUMAN.
AT FIRST THEY LOOK ALMOST BLACK, BUT WE THEN SEE
THE PUPILS ARE OVAL, LIKE CAT'S EYES. ECU ON ONE
SHOWING BLOTCHY RED AND BLUE IRIS, STRANGE AND
DISTURBING PATTERNS. (ad break)
52. EXT. NIGHT. AUSBURY RESIDENCE
LONG SHOT SHOWING THAT MULDER AND SCULLY'S CAR IS
BACK IN THE DRIVE.
53. INT. NIGHT. KITCHEN, AUSBURY RESIDENCE
LONG SHOT FROM THE KITCHEN SHOWING THE VIEW TO THE
HALL. WE SEE FLASHLIGHTS, THEN MULDER AND SCULLY
COMING THROUGH TO THE KITCHEN.
MULDER: Ausbury confessed to conspiracy. He was going to
give up the names of everybody involved, parents, teachers...
SCULLY: I checked on Mrs Paddock's background.
I don't think she's involved.
CU OF MULDER'S FACE AS HE PAUSES, CUT TO FOLLOW HIS
TORCH AS IT SHOWS THE CELLAR DOOR IS AJAR. HE LOOKS
AT SCULLY, PULLS OUT HIS GUN, ADVANCES CAREFULLY
TO THE DOOR. MULDER KNOCKS IT ASIDE, GOES DOWNSTAIRS.
SCULLY FOLLOWS.
54. INT. NIGHT. CELLAR, AUSBURY RESIDENCE
CU OF HANDCUFFS, STILL ATTACHED TO THE BANNISTER
BUT NOW EMPTY. AUSBURY HAS VANISHED. MULDER AND
SCULLY REACH THE CELLAR FLOOR AND SHINE THEIR LIGHTS
AROUND. MULDER'S LIGHT PICKS OUT A CRUSHED AND
BLOODY SKELETON, FOLDED IN ON ITSELF, ABOUT A
METRE AWAY. THEY GO OVER TO IT, BOTH CROUCH DOWN.
SCULLY: My God. (FASCINATED)
You think that's some kind of acid?
MULDER TURNS, SHINES HIS TORCH ON THE STAIR POSTS.
MULDER: There's no evidence of any reaction of the wood from the acid.
(HE TURNS BACK) There are tracks in the dirt... they're from a snake.
SCULLY: (BRUSHING HAIR BACK, DISBELIEF) That's impossible!
It would take a large python hours to consume and weeks to digest
a human being.
MULDER: You really do watch the Learning Channel.
(HE GETS UP, GOES TO PICK SOMETHING UP FROM THE FLOOR.
HE HOLDS IT UP, PLAYING HIS TORCH OVER IT) Scully.
(SHE TURNS TO LOOK) Snakeskin.
SCULLY: (PAUSES BRIEFLY) There's a python in Paddock's room.
55. INT. NIGHT. CONFERENCE ROOM, CROWLEY HIGH SCHOOL
CU ON PTC PLAQUE AS IN OPENING SHOT, DIFFERENT ANGLE.
LIGHTING, THUNDER ETC SUBSEQUENT SHOTS REVEAL THE
OFFICE IS LIT BY THREE CANDLES.
VITARIS: (MATTER OF FACTLY) Sheriff Oakes called me.
Jim Ausbury is dead. He was talking to the FBI.
DEBORAH: (IMPASSIVE) Did they kill him?
CALCAGNI: (SEEMS JUST SLIGHTLY AGITATED, BUT IN CONTROL)
You know who killed him. Ausbury was no believer. He had no real
faith, no devotion. He was punished for his doubts.
(HE LOOKS BETWEEN THEM) We have to act.
Or the same thing will happen to us. If it's not already too late.
DEBORAH: (SWALLOWING -- SHE LOOKS RATTLED FOR
THE FIRST TIME) We have to assume Jim told them who we are.
CALCAGNI: (CALM, RATIONAL)
If Mulder knows, it will make the offering all the more meaningful.
THEY LOOK AT EACH OTHER. A FAINT MOTOR NOISE
OUTSIDE IS HEARD. DEBORAH CROSSES TO THE WINDOW
AND LOOKS OUT. WE SEE HER POV: MULDER AND SCULLY'S
CAR ARRIVING.
DEBORAH: They're here. (VITARIS BLOWS OUT THE CANDLES.
CALCAGNI CROSSES TO THE DOOR, DEBORAH AND VITARIS
FOLLOW HIM. CALCAGNI OPENS THE DOOR) Lock the office.
CALCAGNI FEELS AROUND IN HIS JACKET.
CALCAGNI: No keys. (SLIGHT NOTE OF PANIC)
They were in my pocket!
56. INT. NIGHT. SCIENCE LAB
PAN THROUGH THE LAB, SHOWING FURNITURE OVERTURNED,
EQUIPMENT BROKEN, TO DOOR, WHICH OPENS. MULDER AND
SCULLY STEP THROUGH. CHOKING GROANS CAN BE HEARD.
MULDER GOES ONE WAY, SCULLY ANOTHER. SCULLY NOTICES
SOMETHING.
SCULLY: Mulder. (PADDOCK IS LYING ON THE FLOOR NEXT TO
THE BENCH WITH THE SNAKE'S TANK ON IT. THE TANK IS
BROKEN AND EMPTY. SCULLY CROSSES TO HER, MULDER
FOLLOWS. THEY BOTH CROUCH DOWN) Mrs Paddock?
What happened?
PADDOCK IS BLEEDING FROM THE NOSE. HER GLASSES
HAVE BEEN KNOCKED TO THE FLOOR BESIDE HER, SHE
IS CLUTCHING HER ABDOMEN. SHE SPEAKS FEEBLY
AND IS WILD-EYED.
PADDOCK: I... I... I came back... they were taking the snake...
(AS SHE SPEAKS, MULDER AND SCULLY ARE MAKING
THEIR COATS INTO A MAKESHIFT PILLOW AND BLANKET
FOR HER) Miss Brown, Mr Vitaris... there are things about
them I learned, I must tell you... I think they killed that boy!
MULDER HAS HIS PHONE OUT AND IS WAITING FOR A RESPONSE
MULDER: We know about that.
PADDOCK: (WHISPERING, LOOKING ROUND WILDLY)
Conference room... it's all there!
THE PHONE IS BUSY. MULDER PUTS IT AWAY AS HE SPEAKS.
MULDER: Paramedics must be tied up by the storm.
You just stay there, Mrs Paddock. I'm going to lock the door.
HE TAKES HIS FLASHLIGHT AND HURRIES OFF.
SCULLY: Just stay still. We'll be back.
SHE HURRIES AFTER MULDER. CU ON PADDOCK, LIT BY STORM.
SHE STOPS SHAKING AND LIES ALMOST INANIMATELY STILL.
57. INT. NIGHT. HALL OUTSIDE CONFERENCE ROOM
MULDER AND SCULLY APPROACH THE CONFERENCE ROOM
DOOR. SCULLY KNOCKS IT OPEN, MULDER ENTERS, GUN
AT THE READY. THE ROOM APPEARS EMPTY. SATISFIED
IT APPEARS SAFE, THEY BOTH GO IN.
58. INT. NIGHT. CONFERENCE ROOM
MULDER SHINES HIS TORCH AROUND, KEEPING HIS GUN READY.
SCULLY PUTS HER LIGHT DOWN, TRIES THE DRAWERS OF
FILING CABINETS WITH NO LUCK. SHE CROSSES TO THE DESK
AND OPENS THE DRAWER. CU ON CONTENTS: A GLASS JAR
CONTAINING EYEBALLS. SHE PICKS IT UP, HOLDS IT SO
MULDER CAN SEE. HE SHINES THE TORCH ON IT, MOTIONS
FOR HER TO COME CLOSER. SHE WALKS OVER TO HIM,
HOLDS IT IN THE TORCH BEAM. THEY LOOK AT EACH OTHER.
SCULLY IS ABOUT TO SAY SOMETHING WHEN A BRIGHT LIGHT
AND LOUD CRASH SOUND BEHIND MULDER. HE TURNS
JUST IN TIME TO BE HIT WITH A CHAIR HELD BY VITARIS.
HE STUMBLES AND KNOCKS INTO A SET OF BOOKSHELVES
WHICH FALLS ON SCULLY. SHE CRIES OUT AS SHE IS KNOCKED
TO THE FLOOR. VITARIS CHARGES AT MULDER AGAIN,
BUT OVERSHOOTS AND RUNS INTO THE DESK. MULDER
GRABS HIM, SLAMS HIM DOWN ONTO THE DESK AND HITS
HIM. SCULLY SCRABBLES FOR HER GUN, BUT DEBORAH
APPEARS, SNATCHES IT AND TRAINS IT ON SCULLY,
WHO GOES STILL, HANDS HELD OVER HER FACE. MULDER
AND VITARIS ARE TRADING PUNCHES. VITARIS GOES DOWN,
BUT MULDER IS FELLED FROM BEHIND BY CALCAGNI,
WHO HAS BELTED HIM ON THE HEAD WITH HIS OWN TORCH.
CALCAGNI LOOKS DOWN AT HIM.
59. INT. NIGHT. CROWLEY HIGH SCHOOL GYMNASIUM
DEBORAH WALKS ACROSS THE GYM, DRAGGING SCULLY
BEHIND HER. SCULLY'S HANDS ARE TIED BEHIND HER BACK,
AND HER LEGS ARE TIED TOGETHER. VITARIS APPEARS
DRAGGING MULDER, SIMILARLY TIED. THEY MAKE FOR
A DOOR ON THE OTHER SIDE OF THE GYM. CALCAGNI
FOLLOWS, TORCH IN ONE HAND AND SHOTGUN IN THE OTHER.
60. INT. NIGHT. GYMNASIUM SHOWERS
CALCAGNI TURNS THE WATER ON IN TWO STALLS.
WATER FLOWS OUT FULL-BORE; MULDER AND SCULLY,
LYING ON THE TILES, COUGH AND SPLUTTER AS IT HITS THEM.
MULDER IS BLEEDING FROM A HEAD WOUND.
CALCAGNI: It'll make the blood easier to clean up.
SHOT OF DEBORAH AND VITARIS LOOKING DOWN AT THE
AGENTS. DEBORAH RAISES HER HANDS TO EYE LEVEL.
SHE IS CLASPING A LARGE, CEREMONIAL, DAGGER.
DEBORAH: Dominus Inferus Vobisum!
CALCAGNI/VITARIS: Et conferum (?????)
THEY SHINE THEIR TORCHES ON MULDER AND SCULLY.
DEBORAH MOVES OVER TO MULDER AND KNEELS.
SHE RAISES THE DAGGER HIGHER, PREPARING TO STRIKE.
WE HEAR THE SHOTGUN BEING COCKED IN THE BACKGROUND.
DEBORAH: Zeine ist die hand die verletzt. (PAUL RAISES THE GUN
AND AIMS IT) Forum dubai (????) (SHE BRINGS THE DAGGER
DOWN SHARPLY. WE HEAR A SHOT)
61. INT. NIGHT. PADDOCK'S OFFICE
PADDOCK GROANING, BREATHING ETC; HAND OVER CANDLE
62. INT. NIGHT. GYMNASIUM SHOWERS
CALCAGNI CRACKS OPEN THE GUN AND THE SPENT
CARTRIDGES POP OUT ONTO THE FLOOR. HE REACHES
INTO HIS POCKET FOR MORE AMMUNITION. HE IS STARING
FIXEDLY DOWNWARDS. CUT TO MULDER AND SCULLY,
BOTH STILL ALIVE, STRUGGLING, TURNING TO LOOK UP AT HIM.
BACK TO CALCAGNI, WHO RAISES THE GUN, UP, UP UNTIL
IT IS POINTING AT HIS OWN HEAD. CUT TO MULDER AND
SCULLY, WHO EXCLAIM IN HORROR AND LOOK AWAY.
A FLASH, A SHOT RINGS OUT.
63. INT. NIGHT. PADDOCK'S OFFICE
CU OF A SET OF KEYS DROPPING ONTO THE DESK.
CU PADDOCK THROUGH THE CANDLE FLAME.
PADDOCK: You're right. It is already too late.
SHE BLOWS OUT THE CANDLE. (ad break)
64. INT. NIGHT. GYMNASIUM SHOWERS
MULDER AND SCULLY ARE STRUGGLING TO GET FREE.
SCULLY: Oh God... Mulder, did you see his face?
(HE NODS, SHE CAN'T SEE HIM)
It was as if something else had control of him.
MULDER: Paddock.
65. INT. NIGHT. SCIENCE LAB
MULDER AND SCULLY, NOW FREE, SOAKED,
COME INTO THE LAB, LOOKING AROUND.
SCULLY: Mrs Paddock? (MULDER WALKS TO WHERE THEY
LEFT HER. THERE IS NO SIGN OF HER, ONLY THEIR COATS)
Mulder.
MULDER GOES OVER TO HER. SHE IS AT THE BLACKBOARD.
MULDER SHINES HIS TORCH WHERE SHE IS LOOKING.
THERE IS WRITING ON THE BOARD. WE PAN WITH THE
LIGHT ALONG THE WORDS...
"Goodbye. It's been nice working with you."
MULDER AND SCULLY LOOK AT EACH OTHER. THE POWER
SUDDENLY RETURNS. THEY SWITCH OFF THEIR TORCHES
AND LOOK AROUND THE ROOM, WHICH IS A MESS, STOOLS,
RACKS ETC KNOCKED OVER, EQUIPMENT SMASHED AND
BROKEN. THEY TURN BACK TO THE BOARD, THEN BACK
TO EACH OTHER. FADE TO BLACK.
=========================================================
MRS PADDOCK Susan Blommaert
JIM AUSBURY Dan Butler
PETE CALCAGNI Shawn Johnston
DEBORAH BROWN P. Lynn Johnson
PAUL VITARIS Doug Abrahams
SHERIFF JOHN OAKES Larry Musser
BARBARA AUSBURY Michele Goodger
SHANNON AUSBURY Heather McComb
JERRY STEVENS Franky Czinege
DAVE DURAN Travis McDonald
ANDREA Laura Harris
Note: credits say Jerry Thomas, not Jerry Stevens.
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