THE X-FILES 9X18: SUNSHINE DAYS EPISODE #9ABX18 ORIGINAL AIR DATE ON FOX: 05/12/2002 WRITTEN AND DIRECTED BY VINCE GILLIGAN (Fox Widescreen High Resolution Digital TV) (presented in Dolby Surround where available) ========================== DISCLAIMER: ========================== THE X-FILES and all its characters, plotlines, quotes, episodes, etc. included here are owned by Chris Carter, and Ten Thirteen Productions, Twentieth Century Fox Film Corporation, All rights reserved. This transcript was made without their permission, approval, authorization or endorsement and it is absolutely forbidden to use it for commercial gain. If you would like to use this transcript on your site or use this transcript as a basis/foundation for your own work, I do ask that all names associated with the creation of this transcript and especially the headers/disclaimers be left intact to give credit to all those who have painstakingly made this possible for your enjoyment. Feel free to add on your own disclaimer for your particular site. Transcript downloaded from: http://www.allthingx.com Thanks to steph@philedom2k.com For corrections / inaccuracies contact: steph@philedom2k.com or intrepidly002@yahoo.com ========================== OS SUMMARY: One man's obsession with a 1970's sitcom combined with his remarkable telekinetic ability lead the agents to believe that they have discovered proof for the ultimate X-File. ========================== THE X-FILES 9X18: SUNSHINE DAYS ========================== SCENE #01: VAN NUYS, CALIFORNIA 11:52 PM [EXT. ROADSIDE - NIGHT] (Two friends, BLAKE McCORMICK and MICHAEL DALEY, sit on top their car drinking beer and enjoying each other's company. They're just hanging out as good friends do. BLAKE McCORMICK also happens to be whistling the theme to the Brady Bunch show as he gazes at the house across the street.) BLAKE McCORMICK: So, what do you think, man? MICHAEL DALEY: What do I think about what? BLAKE McCORMICK: That's the Brady Bunch house. That's THE house where they shot the Brady Bunch. (MICHAEL DALEY takes another look at the house. He doesn't believe it.) MICHAEL DALEY: What, are you on crack? Does that honestly look like the Brady Bunch house to you? BLAKE McCORMICK: From inside it does. Straight up, dude - I was there delivering a pizza last night and the guy who lives there is all, like, trying to crowd the door so I can't see inside; but then, he drops his crazy bread, and bends down ... and boom. I see it all, man. The Brady Bunch house. (MICHAEL DALEY looks at his friend like there's something seriously wrong with him. BLAKE McCORMICK crushes the empty beer can he's been holding and tosses it aside. He slides off of the car and heads toward the house.) BLAKE McCORMICK: I'll prove it. (MICHAEL DALEY hurries to follows his friend. The empty can lands on the roadside gutter with a clank.) MICHAEL DALEY: Dude, wait! CUT TO: (Close up of the front door porch. BLAKE McCORMICK's hand appears on camera as he lightly knocks on the door.) MICHAEL DALEY: Dude, what are you doing? (BLAKE McCORMICK knocks a little louder on the door. His friend is a little embarrassed at what he's doing and tries to stop him. He grabs his arm.) MICHAEL DALEY: Blake, it's midnight, man. BLAKE McCORMICK: My honor's at stake, man. (BLAKE McCORMICK moves off to the side and peers in through the window. MICHAEL DALEY stands nervously on the porch.) MICHAEL DALEY: Right, nobody's home. Let's go. Come on. (BLAKE McCORMICK moves back to the front door and tries the door knob. The door opens.) BLAKE McCORMICK: It's not even locked. (He enters the house and behind him, his friend follows.) MICHAEL DALEY: You're tripping, dude. Huh? (BLACK McCORMICK closes the door behind them. MICHAEL DALEY looks at the house's interior with wonder. BLAKE stifles a laugh.) BLAKE McCORMICK: See? I told you. (The two guys stand in the foyer. They look around and allow their eyes to adjust to the darkness. What they see delights BLAKE and befuddles MICHAEL. Nevertheless, they walk further into the house.) (The camera pulls back following the two men as they wander into the great room. All around them, we see them react to The Brady Bunch living room. The detail is absolutely amazing. The two men keep their voices low as they move around the room.) BLAKE McCORMICK: This is exactly like the show! (BLAKE rushes over to the counter by the stairs. He stops at the sculpture near the base of the stairs. MICHAEL continues in through the house to the dining room. He hasn't said a word yet.) BLAKE McCORMICK: Look at this. That weird horse sculpture. And the vase that Peter broke. (his voice slightly higher as he imitates the Brady kid) "Mom always said, 'don't play ball in the house.' " (he chuckles to himself) You remember that one? (MICHAEL looks left and right. He's still stunned by what he's seeing.) MICHAEL DALEY: I don't understand this. (BLAKE lifts up the vase, he's just having himself a grand ole' time snooping around in someone else's house. MICHAEL is still quiet. He looks more spooked at his surroundings than anything else. BLAKE is just in his own little world - too far gone beyond reason.) BLAKE McCORMICK: Who's on crack now, huh? (Both men are stopped silent by a soft thumping sound coming closer and closer to them. They turn in time to see a football rolling slowly down the staircase. thump ... thump ... thump ... The football makes it all the way down where it stops. MICHAEL swallows and calls upstairs.) MICHAEL DALEY: H-Hello..? (BLAKE picks up the football. He cradles it in both his hands. He handles it gently, almost in reverence. In a soft voice, he says ... ) BLAKE McCORMICK: Remember the episode where Marcia broke her nose? She got hit with a football, right? (MICHAEL can't believe what he's seeing. He's completely freaked. He shakes his head and takes a couple of steps back.) MICHAEL DALEY: Screw this, man. I'm out of here. (MIKE bolts out the front door. All he wants is to get out of the house. He leaves hoping that his friend will follow. But he doesn't.) BLAKE McCORMICK: Daley ... don't be a puss. Daley. (BLAKE gently puts the football on the counter near the stairs. He turns to look at the stairway which leads up to the second floor. He hears children's giggling coming from up above. This intrigues him. It beckons him to leave what little reason he has left and to approach. It calls to him. The siren's call that the TV generation cannot resist. He begins to climb the stairs.) CUT TO: (He reaches the top and hears children giggling from the hallway.) BLAKE McCORMICK: Hel-hello? (He continues to move toward the sound. He rounds the corner and sees two small children there. They look very familiar to him.) BLAKE McCORMICK: Bobby? Cindy? (The two children hurry into the room next to them and shut the door behind them. BLAKE runs down the hallway after them.) BLAKE McCORMICK: Wait. Wait. (BLAKE opens the door to the bedroom and stops suddenly. He's surprised by whatever it is in the room that he sees.) CUT TO: [EXT. INSIDE THE CAR - NIGHT -- CONTINUOUS] (Meanwhile, outside the house sitting in the car, MICHAEL DALEY waits impatiently for his friend. His hand beats against the steering wheel and he glances at his watch.) MICHAEL DALEY: Come on, man, come on. (He glances behind him and hears an explosion of sorts coming from the house. He turns back to look at the house. He glances up out from the front window wondering whether he'll see anything.) (Something huge falls from the sky and onto his car roof making the biggest dent ever.) (MICHAEL DALEY is alive. He's a little bit hurt, but he's alive. He crawls out of the driver side window and looks to see what caused the damage to his car. It's his missing friend, BLAKE McCORMICK.) MICHAEL DALEY: Oh, god. Oh, my god. Oh, my god. ROLL CREDITS END OF TEASER [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling.] TAGLINE: THE TRUTH IS OUT THERE (COMMERCIAL SET) SCENE #02: [EXT. ROAD JUST OUTSIDE OLIVER MARTIN RESIDENCE - DAY] (Fade In. The camera looks down directly on the street below. DOGGETT walks into the camera's view and he looks straight up-directly into the camera above.) DOGGETT: I'm telling you. (He stands there a moment still looking up above. REYES enters into the picture and moves to stand next to him. She, too, looks up at the camera. They both move their hands to their eyes to block out the sunlight. She studies whatever it is that he's looking at. She doesn't sound convinced.) REYES: No. I don't see how. DOGGETT: Well, how else do you explain it? A guy falls from a plane or, I don't know, maybe a helicopter out the door and then ... (he whistles as if imitating something falling) ... bamm. As simple as that. (They walk toward the car where BLAKE McCORMICK'S body was found. The body's no longer there. DOGGETT bends over and looks in through the broken window. The street sign behind DOGGETT reads: "Napa St.") REYES: And how, exactly, did he wind up in a helicopter? Supposedly he was busy breaking into someone's house at the time. DOGGETT: (throws REYES a sideways glance) Details. (DOGGETT looks over at the roof of the vehicle and spots something small and black where the body used to be.) REYES: What you got? (DOGGETT picks up what looks like a small piece of asphalt shingle used on roofs and puts it in a small plastic evidence bag. DOGGETT: Maybe nothing. (Behind them, a police car approaches and stops. Both agents turn to see what's happening. A young man with a bandage on his forehead emerges from the car. It's MICHAEL DALEY. He looks at the two agents.) MICHAEL DALEY: Are you the people from the FBI? REYES: Michael Daley? MICHAEL DALEY: Is someone finally going to arrest that freak? (MICHAEL DALEY points toward the house across the street.) DOGGETT: How about you tell us what you witnessed and then we'll go from there. (MICHAEL turns around to look at the agents.) MICHAEL DALEY: What I witnessed was freaksville, man. My friend was murdered. Who would have thought this could happen at the Brady Bunch house? (REYES looks a bit confused at this.) REYES: That's not the Brady Bunch house. MICHAEL DALEY: Yeah, it is. I mean, I know it doesn't look like it, but it is. That's where they shot the show. REYES: No, they shot the show on a sound stage in Hollywood. The house they used for the exteriors is a split-level in studio city. I took a picture of it once. (DOGGETT slowly turns to look at his partner, a little bit surprised at discovering this aspect of her he never knew before.) MICHAEL DALEY: I'm telling you. It's like some kind of creepy Brady Bunch museum in there. I told the cops to search the place but they wouldn't listen to me. But whatever the hell happened to Blake, it happened right in there. (MICHAEL turns and points accusingly at the house next door. DOGGETT and REYES look at each other. They're going to check it out.) CUT TO: EXT. OLIVER MARTIN'S HOUSE -- DAY (DOGGETT knocks on the front door then takes a step back. He's standing there with REYES and MICHAEL DALEY. The front door opens slightly and a man appears in the doorway. DOGGETT and REYES show their badges to the man before putting them away. MICHAEL is stretching himself trying to see inside the house.) DOGGETT: Oliver Martin? REYES: Mr. Martin, I'm Agent Reyes. This is Agent Doggett. We're with the FBI. OLIVER MARTIN: This is regarding the death that happened across the street? DOGGETT: Yes, sir. May we come in? OLIVER MARTIN: I, uh, I already talked to the police about this. REYES: Yes, sir, we know. OLIVER MARTIN: As I told them, I didn't see or hear anything. I wasn't home at the time. MICHAEL DALEY: (interrupting) This guy's stonewalling. Kick the door in. DOGGETT: (to MICHAEL DALEY) Shut up. OLIVER MARTIN: I'm ... really kind of busy. REYES: Mr. Martin just five minutes and we'll be out of your hair. DOGGETT: Unless you want us to get a warrant and then ... we could be here for hours. (OLIVER MARTIN is hesitant and on the verge of relenting ... when MICHAEL DALEY, who has been watching from behind, impatiently pushes through the agents, through OLIVER MARTIN and through the front door.) MICHAEL DALEY: Right in here, see? (MICHAEL walks in and glances around. Obviously what he sees is not making him happy.) MICHAEL DALEY: What happened? (MICHAEL walks further into the house. The camera follows him and slowly we, too, see that the house interior isn't what we saw in the teaser. REYES, DOGGETT and OLIVER MARTIN trail in behind. OLIVER MARTIN closes the front door.) MICHAEL DALEY: This isn't what I saw. None of it. It's all different. Where'd it all go? (MICHAEL DALEY turns to look at OLIVER MARTIN. REYES and DOGGETT turn to look at him, too.) OLIVER MARTIN: I'm not following. MICHAEL DALEY: What happened to all the Brady Bunch stuff? (MICHAEL turns around completely confused. DOGGETT appears to be distracted by something and begins looking at the ceiling and at the walls.) REYES: Mr. Daley was under the impression that your house was used for the filming of the Brady Bunch, the television show. OLIVER MARTIN: Well ... it wasn't. (MICHAEL'S hands cover his mouth. He can't believe this is happening. REYES looks sympathetically at MICHAEL. DOGGETT is completely engrossed with his visual examination of the ceiling.) CUT TO: [EXT. OLIVER MARTIN'S HOUSE - DAY] (The front door opens and MICHAEL DALEY staggers out [House #8554]. REYES and DOGGETT follow. Everyone is quiet. The door closes behind them. They continue down the front path. No one is saying a word. MICHAEL DALEY isn't convinced that he hallucinated what he saw the night before and stubbornly declares:) MICHAEL DALEY: (not turning around) I know what I saw. (MICHAEL DALEY walks out of screen. REYES stops. DOGGETT turns around and looks back at the house. He does a visual sweep of the roof. He's looking for something. He stands on his toes trying to look over at something. REYES notices him.) REYES: What are you looking at? DOGGETT: I want to check something out. (DOGGETT walks away leaving REYES to follow.) CUT TO: (DOGGETT opens OLIVER MARTIN'S trash can. He peers in and finds something. Apparently, it's what he was expecting or even hoping to find.) DOGGETT: A-ha. (He seems satisfied with his initial discovery. He pulls out a big piece of roofing material from the trash can ... asphalt shingle. He holds it in one hand and the little plastic sample he took from the car roof in the other. He hands both pieces to REYES.) DOGGETT: Hold this, please. (REYES takes it and watches as DOGGETT closes the trash can lid and steps onto it. He grasps the edge of the roof and hauls himself up high enough to look around. He finds what he's looking for. A green patch of new roofing material patched onto the old roofing material. He seems satisfied.) DOGGETT: A-ha. (REYES hears this and murmurs to herself .... ) REYES: Twice with the "A-ha's." (DOGGETT releases the roof and stands on the trash can. He turns to REYES and points to the roof behind him.) DOGGETT: Roof's been patched. When I was inside, I knew I smelled fresh plaster. (DOGGETT jumps down.) REYES: So, are you going to fill me in? DOGGETT: (A.) Our eyewitness places the deceased inside this house just prior to the time of his demise. (B.) We found a fragment of roofing shingle at the scene of the impact. It would seem it matches the discarded piece you now hold in your hand. (C.) There's a hole in the roof, recently patched this big around. (DOGGETT holds his hands clasped and arms around in a circle.) DOGGETT: Connect A to B to C. REYES: Much in the fashion of, say, Daffy Duck or Wile E. Coyote, the deceased shot straight up through the roof, flew high into the air, and landed on his buddy's car. (REYES smiles indulgently at DOGGETT. DOGGETT smiles smugly at REYES and nods proudly at his deduction.) (REYES' brows furrow.) REYES: You're serious? DOGGETT: (A) to (B) to (C). What can I tell you? I think I'm finally getting the hang of this job. (REYES can't say anything to that one. ) CUT TO: SCENE #03: FBI ACADEMY QUANTICO, VIRGINIA [INT. AUTOPSY BAY] (The camera is close up on a cadaver about to be autopsied. The body is on the table facing up, the camera pointed in an upward angle at the head. A large piece of roofing is stuck in the cadaver's head.) (SCULLY walks into the screen to the right of the cadaver. She's geared up to do an autopsy on the body, her headset on and connected to the recorder at her waist. She's also carrying a thin file of the victim.) SCULLY: Case number 14-308. Blake McCormick, a well-nourished Caucasian male 24 years old. I will begin with my external examination. (She puts the file aside and moves to the victim's head.) SCULLY: ... and here is a likely place to start. (SCULLY grabs ahold of the piece of roofing and is prepared to remove the piece when off to the side and behind her, a metallic rattling sound distracts her. She turns to see what it is. The rattling persists. SCULLY moves to examine the side tray with her autopsy instruments on it and notices that the scalpel is clattering continuously.) (SCULLY reaches out a finger hesitantly to touch the instrument. When she finally makes contact, a slight electrical charge shocks her. Scully yells out in surprise.) SCULLY: Ah! (This causes her to stop and ponder what just happened ... and how.) CUT TO: SCENE #04: FBI FIELD OFFICE LOS ANGELES, CALIFORNIA 7:08 PM [INT. CONFERENCE ROOM -- NIGHT] (DOGGETT and REYES are in conference with SCULLY over the computer video cameras. They are sitting in front of a computer, both squished closely together to get inside the camera feed. REYES is settling herself next to DOGGETT.) DOGGETT: Help me out here, Agent Scully. Monica thinks I'm losing my marbles. (REYES throws an exasperated glance at DOGGETT.) DOGGETT: What can you tell us about what happened to this guy? (SCULLY'S on screen. She's still at the autopsy bay, the body of BLAKE McCORMICK behind her. The sound and video feed are both excellent on this computer set up.) SCULLY: Well, for starters, Mr. McCormick was dead before he landed on the car. His skull was pulverized from a previous impact and judging by the roofing material that I found in the wound, I'd say that Agent Doggett's theory holds water. INTERCUT WITH [INT. SCULLY AT QUANTICO] (The camera switched over to SCULLY'S Autopsy Bay at Quantico. DOGGETT and REYES are now seen on the computer video conference link. At SCULLY'S confirmation, DOGGETT nods his head slightly and throws REYES a glance. REYES is a little unclear about the details.) REYES: Well, like I asked Agent Doggett, how exactly can that be? (SCULLY is now on the computer screen.) SCULLY: Electricity. DOGGETT: How's that? SCULLY: Or maybe electricity is only a byproduct. I'm not really sure, but ... (SCULLY'S voice softens as she shares her theory/findings.) SCULLY: ... look, I had an odd experience today and, uh, and it made me think to try something unusual. I borrowed an EEG machine and I wired Mr. McCormick to it. (SCULLY glances at the set up behind her.) SCULLY: And for the last few hours he's been putting off a faint reading. REYES: Are you saying he's alive? SCULLY: No, he's dead as a hammer. What I'm reading is some sort of residual electricity like a ... like a battery that's draining off its charge. It's fascinating. I mean, I've never seen anything quite like it. REYES: But what does it mean? SCULLY: Well, if Mulder were here, I'd imagine he'd talk about research linking electromagnetic fluctuations to levitation, poltergeist activity, ghost sightings... DOGGETT: Ghosts and poltergeists? That's what Mulder would say? SCULLY: At the end of the day I wouldn't have any theory that was any better and I don't now. CUT TO: SCENE #05: [STREET IN FRONT OF OLIVER MARTIN'S HOUSE - NIGHT] (The camera is low to the ground. Liquid falls in a steady stream between two male feet. The camera slowly pans up the man's legs, up his abdomen, up his chest till we see that it's MICHAEL DALEY pouring out a can of beer onto the open road.) MICHAEL DALEY: Here's to you, buddy. (MICHAEL drinks whatever's left in the can. He gazes at the house across the street with a determined look on his face. He tosses the empty can to the side of the road and makes his way to the house.) CUT TO: (MICHAEL jumps off of the fence and creeps along side the house. He stops at the porch sliding doors and peers inside. Through the thin curtains and sees Alice (from "The Brady Bunch") in the kitchen. She's wearing her familiar blue dress. She opens the oven door and pulls out dinner in a glass serving dish. She carries it over in to the dining room ... and out of MICHAEL'S view.) ALICE: Here ya go, folks, my famous pork chops and apple sauce ... (MICHAEL can hear The Brady kids ooh-ing and aah-ing. He just can't see them anymore. Encouraged, he quickly moves over to the next window. What he sees makes his jaw drop. He takes a couple of steps back in surprise.) (Inside, Alice is serving dinner to Carol Brady and a table full of Brady kids. They're all settling down for their evening meal.) (Hoping to catch everyone there this time, MICHAEL DALEY makes a mad dash to the front of the house. He jumps over the low bush, onto the porch and bursts through the front door. He walks in to the interior of the Brady House It's The Brady House living room; it's the Brady House dining room. The dining table is set complete with the dinner settings and food. Only no one is there.) (MICHAEL is clearly confused.) (The camera slowly rotates around MICHAEL DALEY, who is just standing there between two dining room chairs. Behind MICHAEL, OLIVER MARTIN stands in the den's doorway. He slowly approaches MICHAEL.) (MICHAEL looks around the room. He finally notices OLIVER MARTIN.) MICHAEL DALEY: (accusing) What is this, man? What in holy freaking hell is this, man? (OLIVER MARTIN stops some distance away from MICHAEL. He whispers.) OLIVER MARTIN: Please. Leave. (MICHAEL isn't listening to him. He's upset and confused. He yells out in frustration.) MICHAEL DALEY: (freaking out) They were here. I saw them! I saw them all! (OLIVER MARTIN tries again.) OLIVER MARTIN: Leave. Before it's too late. MICHAEL DALEY: I saw the Brady Bunch. (OLIVER MARTIN shakes his head slowly. MICHAEL DALEY slowly begins to rise off of the floor.) MICHAEL DALEY: Oh, my god. What are you doing?! (MICHAEL rises higher and higher.) MICHAEL DALEY: Oh, my god. Oh, my god! (MICHAEL screams. In a recreation of what must have happened to his friend, MICHAEL bursts through the ceiling plaster head first. Bits of plaster and roofing fall to the floor in front of OLIVER MARTIN.) FADE TO BLACK. (COMMERCIAL SET) SCENE #06: [FRONT LAWN - DAY] (In the middle of the front lawn, a large white sheet covers MICHAEL DALEY'S body. The police officer removes the sheet to show us MICHAEL DALEY, face down in the grass. The entire scene has an almost cartoon-like quality about it. MICHAEL DALEY'S body is outlined and indented into the grass yard. It's as if the ground gave way and absorbed his fall. DOGGETT and REYES approach the crime scene. They crouch down to get a better look at the body.) (Behind them just past the fence and beyond the police tape, a slew of reporters and TV cameras are lined up.) REYES: Smile. All of Southern California's watching us scratch our heads in confusion. (DOGGETT glances behind him.) DOGGETT: So let's go get some damn answers. (They get up to leave. DOGGETT signals for the police officers to replace the white sheet back over the body.) CUT TO: OLIVER MARTIN: I said all I'm going to say to you people! You don't like it, go get your warrant! (OLIVER MARTIN slams the front door.) [OLIVER MARTIN'S FRONT PORCH - DAY -- CONTINUOUS] (The camera pulls back to find both DOGGETT and REYES standing there.) REYES: He called your bluff. Maybe we can get a warrant. (They both start walking down the front path away from the front door.) DOGGETT: Yeah. "Judge, I want to toss the house of a man who makes people magically zoom into the sky. It has something to do with electricity and poltergeists and whatnot." Yeah, that'll fly. (As they walk away from the house, we can see behind them, a bright blue tarp covering the hole in the roof. DOGGETT'S cell phone rings.) DOGGETT: Doggett. SCULLY (on the phone): So the owner won't talk, huh? (DOGGETT quickly turns back to look at the house. He's surprised at her accuracy.) CUT TO: (SCULLY is standing in front of a television set that's covering the story. On the screen, it says: NEWS 6 / Live Breaking News / "Death In Van Nuys". At the same time, we see DOGGETT turn quickly back to look at REYES in continuation of his previous motion.) DOGGETT: (on the phone) Excuse me? SCULLY: Smile, you're on tv. (SCULLY smiles. She's gotta be remembering her own stint at being on television during a case.) (DOGGETT groans.) SCULLY: I'm in Los Angeles at the field office. I've called in someone whom you'll both want to meet. CUT TO: SCENE #07: [INT. LOS ANGELES OFFICE - DAY] (We're in a darkened office. The shades are drawn and we're watching a television screen. On it, is the close-up of a little eight-year old boy. He's sitting at a table with his elbows bent and hands clasped. He seems quiet and very shy. In front of the little boy are four different colored blocks. One red, one blue, one green and one yellow.) DR. JOHN RIETZ: (on film) April Fourth, 1970, 10:36 A.M. Present for this test are John Rietz, speaking and Anthony Fogelman, age eight. (The little boy on screen holds up his hand and waves at the camera.) DR. JOHN RIETZ: (on film) Hello, Anthony. Are you ready to begin? Good. Now, relax, relax and focus. (The little boy on the television screen bows his head a closes his eyes.) DR. JOHN RIETZ: (on film) Almost immediately the EEG is registering an increase in fast beta wave activity on all leads. Theta activity is rising as well. Oh, my goodness! (The blue block in front of the little boy moves slightly.) DR. JOHN RIETZ: (on film) Oh, my goodness! (The screen fizzes with interference.) (SCULLY stands and turns on the lights.) [INT. CONFERENCE ROOM - DAY] (She returns to the conference table and takes the seat next to DR. RIETZ. Across them are DOGGETT and REYES.) DR. JOHN RIETZ: Well, there you have it. My right hand to god. All four blocks rose off of the table and spiraled halfway to the ceiling before they fell. REYES: Too bad that wasn't on film. DR. JOHN RIETZ: The understatement of a lifetime. Whatever phenomenon caused this I also believe that it radiated an electromagnetic field strong enough to fog the image. Well, don't be polite. Call me crazy. Everybody does. DOGGETT: I believe you. (DOGGETT'S simple statement of faith startles REYES.) DOGGETT: You recognize that kid? That's our suspect, Oliver Martin, right? SCULLY: I went through Mulder's reference books. Van Nuys, California, 1970: One of the best documented cases of what was initially thought to be poltergeist activity. It focused on a young boy, Anthony Fogelman, who has since changed his name. And Dr. Rietz was the parapsychologist who investigated it. DR. JOHN RIETZ: Objects flew around the house. Rooms would grow inexplicably cold. Strange voices would be heard. Anthony's mother was at the end of her rope. I spent six months with her and her son. Six astonishing months. REYES: What did you learn? DR. JOHN RIETZ: That Anthony was as bewildered as everyone else but that he was responsible for all of it. SCULLY: He was psychokinetic. DR. JOHN RIETZ: He was the Mozart of psychokinesis. REYES: Sir, in your line of work why would you fall out of touch with the Mozart of psychokinesis? DR. JOHN RIETZ: Over time, Anthony's abilities faded. The last few months I was with him there were no manifestations of it whatsoever. SCULLY: He lost his power. DOGGETT: We're looking at this guy for two murders. What can you give us that we could actually take to a judge? Was he an angry kid? Was he violent? DR. JOHN RIETZ: I can't say what he grew up to be. I haven't spoken to him in 30 years but the Anthony I knew was a lonely little boy. CUT TO: SCENE #08: [INT. OLIVER MARTIN'S LIVING ROOM - DAY] (OLIVER MARTIN is putting the finishing touches of plaster to his new ceiling. He gets off the ladder and puts the pail away. Such a simple act. Yet, he stands all alone in his large house. He moves to look out the window for a moment. He then closes the curtain, darkening the living room behind him.) (He turns around and concentrates. It takes but a moment and in that instant, the entire house changes. He's once again in the Brady House.) [CLOSED-CAPTION BRADY KID: Come on!] (Children's giggles and laughter can be heard coming from the second floor. We look up and there, running down the stairs in a steady stream are ... Greg, Marcia, Peter, Jan, Bobby and Cindy. They're off somewhere in a hurry. As they pass OLIVER MARTIN, they wave him good-bye. OLIVER has a lovely smile on his face as he watches them go.) (The phone rings. It interrupts the moment. OLIVER turns to look at the phone on the counter and we notice that the entire living room area has morphed back into his own living room.) (The phone rings again.) (OLIVER slowly moves toward the phone. The answering machine picks it up.) DR. JOHN RIETZ: This is a message for Oliver Martin. Oliver, I believe I knew you years ago as Anthony. This is Dr. John Rietz calling. Remember me? It's been far too long and I'd love ... I'd love to talk to you. I'd really like to catch up. Obviously, you're all grown up now. It's funny. I have trouble picturing that. My god, how time flies. But anyway, you can reach me any time on my cell phone: 714-555-0146. I look forward to hearing from you. Bye, now. (Behind him, the ladder and the putty knife begin to tremble and shake. The putty knife flies and embeds itself in the phone with so much force that the phone is hurled off of the counter and onto the floor. It's in pieces.) (OLIVER MARTIN walks away.) CUT TO: [INT. LOS ANGELES OFFICE - DAY -- CONTINUOUS] (DR. RIETZ sits with the phone hooked in front of him. He taps idly on the receiver.) DR. JOHN RIETZ: I guess he's not home. (DOGGETT and SCULLY are standing and watching DR. RIETZ. Behind them, REYES is busy doing something on the computer.) DOGGETT: He's home. REYES: A-ha. (This catches DOGGETT and SCULLY'S attention.) REYES: I was wondering why a man with no criminal record would change his name. And then I thought about the name itself Oliver Martin. It sounded familiar so I ran it. DOGGETT: Through what? NCIC? REYES: No, a Brady Bunch web site. It popped right up. (REYES turns around to the computer screen behind her. DOGGETT moves in for a closer look. DR. RIETZ and SCULLY stand in the back.) (The web page has the title graphics: The Brady Bunch and a smaller subheading "Cousin Oliver". A picture of Robbie Rist is just below the header on the page. To the right is the site menu: Brady News / TV Listings / Chat Room / Photo Gallery / Music / Cast Info / Episode Guide / Fan Stories. Below that is a television graphic and "Brady Store". To the left of the picture is a short summary of the character, Cousin Oliver.) DOGGETT: "Cousin Oliver"? Who the hell's that? REYES: Carol Brady's nephew. He came to live with the Brady's during the last season of the show. (DOGGETT looks confused.) DOGGETT: You're speaking Greek to me here. What's this case have to do with an old TV show? REYES: You remember what Michael Daley claimed he saw inside that house. He said it was the Brady Bunch house. He seemed certain of it. And now this name, Oliver Martin -- just connecting (A) to (B) to (C). (He gives her an appreciative smile at having his own words thrown back at him. DOGGETT turns around toward SCULLY and DR. RIETZ. He leans against the table next to REYES.) DOGGETT: Does this make any sense to you? When you knew Anthony, was he nutty for the Brady Bunch? (DR. RIETZ shakes his head, no. He didn't think so.) DR. JOHN RIETZ: We'd watch it together. DOGGETT: Okay, say he is. What's it mean? REYES: Well, why name himself after cousin Oliver? None of the other Bradys particularly liked Oliver. He was a self-described pest. SCULLY: A jinx. Cousin Oliver, the jinx. (DOGGETT squints his eyes in shock at SCULLY. You too, Scully? Even she's up to date on The Brady Bunch.) SCULLY: (slightly embarrassed) Oh, so maybe I watched an episode or two. So what you're saying is that his choice speaks to Anthony Fogelman's character; how he views himself-- unlucky, star-crossed, a danger. DOGGETT: Okay, so be it. Just tell me how this helps me bust him and uh ... I'm happy. SCULLY: Well, I'm staring to hope that it doesn't come to that. Well, the power that this man seemingly possesses is extraordinary. It needs to be studied. (DR. RIETZ perks up at the idea of having this kind of support ... this backing into his life's work.) DR. JOHN RIETZ: It could expand the scope of human knowledge. It could change everything. SCULLY: It very well could. I've been working this unit for nine years now. I've investigated nearly 200 paranormal cases. We are due for some incontrovertible proof. I want vindication for Mulder and for all of us. (DOGGETT sighs. The entire scope of the investigation has just been reshaped.) CUT TO: SCENE #09: [EXT. OLIVER MARTIN'S PORCH - DAY] (Close up of DR. RIETZ'S hand knocking on OLIVER MARTIN'S front door. Behind him is DOGGETT. DR. RIETZ turns back to knock on the door. DOGGETT moves to the side of the house and looks through the window. He sees something. We don't know what. Whatever it is has him doing a double-take.) DOGGETT: What in the hell? (DOGGETT rushes to the front door. It's locked. DOGGETT reaches into his inner coat pocket, pulls out a lock pick set and begins to work on the lock. DR. RIETZ is alarmed by the urgency in DOGGETT'S movements.) DR. JOHN RIETZ: What is it? Agent Doggett, what? (DOGGETT doesn't say anything and works on unlocking the door.) CUT TO: [INT. OLIVER MARTIN'S HOUSE - DAY] (The front door creaks open. DOGGETT steps in, pockets his lock pick, then turns to DR. RIETZ who's still out on the porch.) DOGGETT: Wait here. (DOGGETT closes the door, shutting DR. RIETZ outside. He then walks further into the house ... the Brady Bunch House. The interior is completely different than what he's seen the last time he was here. For someone who's standing smack dab in the middle of a paranormal phenomenon, DOGGETT doesn't appear to be phased the tiniest bit.) (From somewhere upstairs, a door creaks. DOGGETT hears the sound and proceeds up the stairs at a rapid pace.) DOGGETT: Oliver Martin, FBI! (DOGGETT goes upstairs and rounds the corner into the hallway. He moves cautiously. OLIVER MARTIN is standing there in the hallway. He's in his sweatshirt, jeans and t-shirt. He's boldly facing DOGGETT.) OLIVER MARTIN: Get out of my house. DOGGETT: Oliver, there's someone here that wants to talk to you -- Dr. Rietz. You remember him? (OLIVER MARTIN shakes his head in exasperation.) OLIVER MARTIN: Why won't you people just leave me alone? Please, get out. (DOGGETT starts to wobble. Something is happening to him. His body is lifting off of the ground. DOGGETT grabs ahold of the nearest doorknob and tries to brace himself as his feet rise steadily above his head.) (He grunts with the effort of trying to hang on. He loses his grip with one hand and finds that his legs are still rising toward the ceiling. He completely loses his grip and crashes through the ceiling, feet first. Plaster falls to the hallway floor beneath him.) (OLIVER MARTIN hasn't moved. He's clearly upset by the events.) FADE TO BLACK. (COMMERCIAL SET) SCENE #10: [INT - OLIVER MARTIN'S ATTIC - DAY] (The lamp light is on and swaying back and forth. It's a peculiar POV as the wire holding the light to the ceiling is coming from the bottom of the screen rather than from the top. The lamp light is hanging upward, not down. The camera slowly travels and we see that DOGGETT'S lying unconscious . It's an incredible force that's holding him down to the ceiling as his tie is plastered flat against his chest. He slowly comes to and looks around. He's lying on the wooden beams flat against the ceiling looking straight up ... uhm ... down at the Brady Bunch attic floor below.) DOGGETT: Oh, crap. (DOGGETT slowly stands. This entire upside-down DOGGETT scene is really cool. His feet are flat against the ceiling and his head pointed straight downward. Although he's standing upside-down, his coat still falls upward as does his tie. He jumps up and down on the wooden ceiling beam unable to get himself down.) CUT TO: [EXT. OLIVER MARTIN'S FRONT YARD - DAY] DR. JOHN RIETZ: (o.s.) Oliver? (DR. RIETZ runs some ways out onto the front path to better glimpse the rooftop. Through the ceiling, we hear DOGGETT calling for help.) DOGGETT: Dr. Rietz? I could use some help up here! (DR. RIETZ runs back to the front porch. A piece of the asphalt shingle slides off of the roof.) CUT TO: [INT. OLIVER MARTIN'S ATTIC - DAY -- CONTINUOUS] (DOGGETT is stuck standing upside down on the ceiling wood beam. He's disoriented at being upside down and yet, he paces the ceiling's wooden beam.) DOGGETT: (hollers out) Oliver!? You up there!? (mumbling to himself) Down there? Whatever the hell ... (DOGGETT walks the ceiling beam until he comes directly above the hole in the hallway ceiling - the one he fell through. He looks up and sees OLIVER MARTIN through the hole looking back up at him.) DOGGETT: Oliver. Oliver! (OLIVER MARTIN stands staring up at DOGGETT for a moment, then he walks away -- outside of DOGGETT'S view.) (DOGGETT is left standing there ... on the ceiling ... a little battered, a little bruised, and mad as heck.) CUT TO: (DR. RIETZ rounds the second floor hallway corner. He moves cautiously.) DR. JOHN RIETZ: Anthony? (From up above, DOGGETT hears DR. RIETZ and calls out to him as DR. RIETZ passes the hole in the ceiling. He glances up above and continues to look for Anthony.) DOGGETT: (o.s.) Hey! Hey! I'm up here! Dr. Rietz ... help me out here! (DR. RIETZ seems to be focused on locating ANTHONY more than in responding to DOGGETT. OLIVER MARTIN is huddled in a ball next to the wall. He's hidden from DR. RIETZ'S view. DR. RIETZ moves further into the hallway.) DR. JOHN RIETZ: Anthony? DOGGETT: (o.s.) Come back here, man! He's dangerous! (OLIVER MARTIN peers around the corner into the hallway - just as a scared little boy might do when he's hiding after doing something wrong. DR. RIETZ moves in closer to OLIVER MARTIN.) DR. JOHN RIETZ: Anthony? Anthony ... (OLIVER MARTIN slowly stands up. His arms are still hugged against his chest. He seems more scared than anything. DR. RIETZ sees ANTHONY. He walks toward him and says in a quiet, yet firm, fatherly voice, ) DR. JOHN RIETZ: Anthony ... let him go. OLIVER MARTIN: I can't. DR. JOHN RIETZ: (gently) Sure you can. OLIVER MARTIN: (scared) No. I don't know how. DR. JOHN RIETZ: (gently) Anthony ... you're a good person. I know that hasn't changed. Relax ... and focus. Remember? (OLIVER MARTIN slowly nods his head.) DR. JOHN RIETZ: Good. Relax... and focus. (OLIVER MARTIN looks down in shame and starts to cry. After a moment, we see behind him, DOGGETT falling through the ceiling hole to the hallway floor with a loud, hard thud.) CUT TO: SCENE #11: [INT. OLIVER MARTIN'S LIVING ROOM - DAY] (DOGGETT is holding a bag of ice to the back of his head. The ice is in an Evidence/Property bag. He's sitting on the living room coffee table. In front of him, OLIVER MARTIN and DR. RIETZ sit in the two single sofa chairs.) (The front door opens. DOGGETT turns around to see SCULLY and REYES enter. REYES is absolutely astounded by her surroundings. She's transfixed by the environment she's in. She's like a little girl given free reign in a candy store.) REYES: Oh, my god. This is ... (REYES hasn't completely ignored DOGGETT. She glances over at him and without breaking her stride, she asks ... ) REYES: Are you all right? DOGGETT: (slightly disgruntled) Yeah. (DOGGETT watches REYES. She has a look of childish wonder on her face and walks past everybody to examine ... well ... everything.) (SCULLY moves to check DOGGETT out. He removes his ice bag as she does her cursory check. It's just a quick hair part and a glance. She doesn't do all that touchy-feely stuff she usually reserves for Mulder. He seems just fine to her.) SCULLY: Just minor bruising. DOGGETT: Dana Scully ... meet Oliver Martin. DR. JOHN RIETZ: Uh ... Anthony Fogelman. (DR. RIETZ politely corrects DOGGETT. OLIVER MARTIN thinks about it a moment and shakes his head, no.) OLIVER: Oliver. (SCULLY moves to sit next to DOGGETT on the coffee table. Behind them, REYES is examining the pieces on the furniture near the stairs. She moves the horse statue for a closer look. She picks up the vase. She's examining everything.) SCULLY: (with respect) Oliver, it's a great pleasure to meet you. REYES: (from behind everyone) Where did all this come from, Oliver? How did you make this come to be? OLIVER MARTIN: I think about it, and it's here. SCULLY: Can you think about other things? (REYES gently puts down the vase and moves to sit next to DOGGETT.) SCULLY: What happens if you ... think about another place .. a nice place? DR. JOHN RIETZ: Can you do that, Oliver? Please? (OLIVER turns to look at DR. RIETZ.) DR. JOHN RIETZ: It's important to me. (DOGGETT looks intently at OLIVER MARTIN. Wondering what's going to happen.) (OLIVER MARTIN concentrates.) (All around the group, the entire environment changes. The Brady House vanishes and in its place is green grass ... and blue skies. Everything vanishes except the living room furniture.) SCULLY: (quietly) Oh, my god. (One by one, they all stand up. Each simply amazed by the change around them. SCULLY moves closest to the camera, her arms outstretched, her eyes wide in wonder. The camera moves around SCULLY and we see what she's look at. The ocean, out in the distance, it's waves roar in tranquility in the background.) (Above her, the living room chandelier materializes. As does the living room walls. They're all standing back in The Brady Bunch house.) OLIVER MARTIN: Mainly... I like to be here. (OLIVER is out of breath. Does anyone notice?) (SCULLY moves back in front of OLIVER. DOGGETT hasn't moved at all. He has a strange look on his face.) SCULLY: Oliver ... with your help, we could learn so much. I would love to take you back with us to Washington. DR. JOHN RIETZ: It would mean so much to me, Oliver ... to show the whole world. (OLIVER looks at DR. RIETZ and after a moment, he nods.) DR. JOHN RIETZ: Wonderful. Let's go get you packed. (OLIVER and DR. RIETZ stand and leave. SCULLY leans back happy to have his consent. DOGGETT watches the two as they leave.) DOGGETT: We've got a tiger by the tail. REYES: Do you believe he intended to kill you? DOGGETT: He wanted me out of his house, and away I went. It was involuntary, like a sneeze. What the hell difference does it make? It means he's not in control of this power of his. SCULLY: I think that's where we can help him. I mean, he needs to learn how to control his powers. I mean, my god ... there's no end to what he could accomplish. DOGGETT: And there's no end to the harm he could cause if he goes off the deep end which isn't too long a walk for this guy in case you haven't noticed. I mean, this whole Brady Bunch thing ... I'm not so sure about this. REYES: Well, we can't keep him here. Two people are dead. Clearly, this isn't working. SCULLY: And besides, I mean ... as grand as this may sound, ... we owe it to the world. DOGGETT: Maybe. Except that I can't shake this feeling that the other shoe's going to drop ... that there's something Oliver's not telling us. CUT TO: [INT. UPSTAIRS - CONTINUOUS] (OLIVER MARTIN steps out into the hallway from the boys' bedroom. He's holding The Brady Bunch football and carrying a backpack. He seems a little preoccupied.) DR. JOHN RIETZ: Oliver? Coming? (Out of nowhere and all of a sudden, a burst of electrical current shocks OLIVER. He drops the football. OLIVER looks scared. He doesn't look surprised. Just scared.) DR. JOHN RIETZ: Oliver? (He looks up in the direction that DR. RIETZ'S voice is coming from. He's still holding his hand as if it hurts him. Yet, he makes a decision and with determination makes his way to DR. RIETZ.) FADE TO BLACK. (COMMERCIAL SET) SCENE #12: [INT. AD SKINNER'S OFFICE -- DAY] (Close up of SKINNER'S surprised face. His eyes are wide as he looks forward, then downward at his feet. He glances over to his side at ... ) (DOGGETT is watching SKINNER. His brow is furrowed. He stares at SKINNER for a moment, then turns to look at ... ) (REYES sits next to DOGGETT with a smug grin on her face. She seems to want to laugh at SKINNER except we have no clue why. The camera moves over to ... ) (SCULLY who is wearing a great big, beautiful "Gillian Anderson"-sized grin on her face. Absolutely breathtaking.) (SKINNER still hasn't moved. He stands there, then looks over to OLIVER MARTIN who is concentrating intently on SKINNER. His face is sweating with effort. Next to him, DR. RIETZ has a grin of success on his face.) (DR. HENRY JACOCKS, a strange, new face in the room, looks up at SKINNER in wonder. The man stands up and for the first time, we see what everyone has been looking at. SKINNER is suspended in the air about two feet or so above the ground. DR. HENRY JACOCKS walks behind SKINNER. He crouches to the floor to look underneath SKINNER'S feet.) (SKINNER still hasn't moved. He slowly tilts backward and does a full mid-air backward somersault. SCULLY laughs at the sight.) (SKINNER'S feet finally touch the floor. He is clearly impressed.) SKINNER: Wow! (OLIVER is sitting quietly on the side. He's sweating and out of breath with the effort.) OLIVER MARTIN: (quietly) May I have a glass of water? CUT TO: [SKINNER'S OUTER OFFICE - DAY] (Skinner's Assistant, ARLENE, pours OLIVER MARTIN a glass of water. He takes it and drinks. They're standing in the office just outside SKINNER'S OFFICE. SKINNER is standing by the door. He's going back into the office.) SKINNER: (to OLIVER) We'll only be a minute. Anything you need, uh, just ask Arlene. CUT TO: (SKINNER closes his office door. Everyone is standing.) SCULLY: So what do you think, Dr. Jacocks? DR. HENRY JACOCKS: What do I think? I think there's a hell of a lot of physics books that are due for major rewrites. And I think a year from now you and Dr. Rietz will be in Stockholm accepting the Nobel prize. This will change everything. (Everyone seems pleased with his assessment. Everyone, except DOGGETT. He's been unusually quiet. And just as grim.) DR. HENRY JACOCKS: May I use your phone? SKINNER: Yeah. (DR. HENRY JACOCKS moves off screen to use the phone. The others confer in private.) DOGGETT: (to SKINNER) So you're on board with this? REYES: What happens next? SKINNER: I want Kersh to see this. I want the Director himself in here. Do you realize what this means? This kind of proof? It insures that they can't shut you down. It means the X-Files will go on forever. (SKINNER is interrupted by the sound of a loud thud just outside the closed door. ARLENE opens the door and interrupts the meeting. She seems alarmed.) ARLENE: Agent Scully! (Everyone rushes to see what's going on. ARLENE is standing some distance away from OLIVER MARTIN who is on the floor, his body shaking in seizure. The water glass clutched tightly in his hand.) ARLENE: He's having a seizure. (SCULLY removes the empty glass from OLIVER MARTIN'S hand and tends to him.) SCULLY: What happened? ARLENE: I saw a big spark and he collapsed. (DOGGETT reaches for the phone to call for an ambulance.) DOGGETT: We need an ambulance. We got a man having a seizure. Fourth floor, A.D. Skinner's office. Make it quick. CUT TO: SCENE #13: [INT. HOSPITAL] (OLIVER MARTIN is lying in bed. He's hooked up to a heart monitor and has a nasal cannula on.) DR. JOHN RIETZ: It was just all the excitement. A little bed rest will do him wonders. And we'll get things right back on schedule. (DR. RIETZ is sitting in the chair next to the bed. He speaks to DOGGETT and REYES who are both standing at the foot of OLIVER'S bed. Behind them, the door opens and SCULLY walks in. She indicates that they should talk outside.) (They all stand and leave the room. DR. RIETZ glances back at OLIVER.) CUT TO: [INT. HALLWAY OUTSIDE OLIVER MARTIN'S HOSPITAL ROOM] REYES: What do his doctors say? SCULLY: Oliver's electrolytes were severely imbalanced -- that's what sent him into shock. They've stabilized his fluids ... DR. JOHN RIETZ: When will they release him? SCULLY: Well, there's other problems. His thyroid level is elevated. His glucose is low. CPK, liver enzymes and BUN ... they're all elevated. DOGGETT: Which, in a nutshell means ... SCULLY: It points to a multi-system organ failure. Gradually his body is consuming itself. It's been going on for months ... and maybe even years. (DR. RIETZ glances over to OLIVER MARTIN back in the room. REYES is still confused as to what this all means.) REYES: What's causing it? SCULLY: His doctors have no idea but I think I'm starting to. DOGGETT: This power of his -- it's eating him alive. SCULLY: And if so, it follows that the more he uses it, the more his health will decline. Until finally ... (This news affects DR. RIETZ. REYES glances over to OLIVER MARTIN'S room where she sees something rather strange going on inside.) REYES: What in the hell? (SCULLY turns around. They all see the entire Brady Bunch family standing around OLIVER MARTIN'S bed. Even little Cindy Brady is clutching her favorite Kitty Carry doll. They appear to be solemn as they encircle OLIVER MARTIN'S bed.) SCULLY: Oh, my god. (This surprises everyone outside. They all rush into the room where they find it empty of any guests.) [INT. OLIVER MARTIN'S ROOM - CONTINUOUS] DR. JOHN RIETZ: Oliver? (OLIVER is awake.) REYES: Oliver, those people just now -- was that...? Were they...? (OLIVER MARTIN nods his head sadly.) DOGGETT: Why were they here? OLIVER: To say good-bye. SCULLY: Why good-bye, Oliver? (He looks over to her. He knows the truth.) OLIVER: Because I'm dying. (This affects everyone in the room profoundly. Once again, the focus of the case has changed direction entirely.) CUT TO: SCENE #14: FBI HEADQUARTERS WASHINGTON D.C. [INT. X-FILES BASEMENT OFFICE -- NIGHT] (The sound of a film projector running can be heard in the room. It's the video documentation of DR. RIETZ'S 1970 Anthony Fogelman experiment. DOGGETT is seated behind his desk watching the film. This is the same video segment shown before.) DR. JOHN RIETZ: (on film) April fourth, 1970, 10:36 A.M. Present for this test are John Rietz, speaking, and Anthony Fogelman, age eight. Hello, Anthony. Are you ready to begin? (The door opens and SCULLY, REYES and DR. RIETZ walk in. DOGGETT shuts the projector off.) DOGGETT: Any change in his condition? SCULLY: They're trying everything they can think of. Experimental drugs, plasma transfusion ... DOGGETT: None of that's going to work. DR. JOHN RIETZ: Why not? DOGGETT: Because they're treating the symptoms not the cause. SCULLY: What do you have, John? (SCULLY and DR. RIETZ move to sit in the two chairs in front of DOGGETT'S desk. REYES remains in the back. She's leaning against the smaller desk, the one near the door.) DOGGETT: One big question. Why the Brady Bunch? Seriously, you two are fans. Why are people still watching a 30-year-old tv show? REYES: Because they're the family everyone wishes they had. Loving parents, lots of brothers and sisters everybody getting along. SCULLY: They're the perfect family. And since Oliver didn't have one as a child he ... created one. DOGGETT: Sure, I buy all that but in this case, why "The Brady Bunch"? Why not "The Partridge Family"? Why not "Eight Is Enough"? (Neither SCULLY nor REYES have an answer to that one. DOGGETT shifts his questions to DR. RIETZ.) DOGGETT: Where was Oliver when he first saw the Brady Bunch? He was with you, right? DR. JOHN RIETZ: He'd always insist that we watch it together every week I was there. DOGGETT: And the longer you two were together the more his psychokinetic power faded until finally it went away completely. (gently) Now, why do you think that was? (SCULLY and REYES realize where DOGGETT'S going with this one. DR. RIETZ thinks about it for a moment, then it comes to him. The realization hitting him hard.) DR. JOHN RIETZ: Because for the first t-time in his life, he was happy. DOGGETT: (gently) Because he was with you. SCULLY: What are you suggesting as the course of action, John? DOGGETT: (A) Oliver's going to die if he continues to use his power. (B) His power goes away when he's happy. And (C) You're the father he never had, and he loves you. (A) to (B) to (C). (REYES, SCULLY and most of all, DR. RIETZ realize what has to be done, if they're to save OLIVER MARTIN from certain death.) CUT TO: SCENE #15: [INT. OLIVER'S ROOM] (The Orderly sits next to OLIVER MARTIN'S bedside. He's trying to spoon feed OLIVER green jello. Only, OLIVER isn't interested in eating. He has his face turned away from the Orderly.) ORDERLY: Come on, Oliver you've got to eat something, man. Doctor's orders. (Behind them, DR. RIETZ walks in. The Orderly gets up and hands the tiny jello container to him as he exits the room.) ORDERLY: Talk to him, will ya? (The Order leaves. DR. RIETZ remains standing by the bedside and puts the jello container on the nearest table. They need to talk.) DR. JOHN RIETZ: Oliver. You have to understand -- my life's work ... the vindication of it -- it's so important to me. I let it blind me. I treated you like a lab rat and not a man. And 30 years ago, I left with barely a good-bye. I am sorry for that. You can't use your power. Not ever again. I forbid it. OLIVER: I can't be alone. DR. JOHN RIETZ: You won't be. You've got me. Can you forgive me, Oliver? (And with a single word ... he does.) OLIVER: Anthony. (DR. RIETZ smiles.) CUT TO: [OUTISDE LOOKING INTO THE ROOM -- CONTINUOUS] (SCULLY, DOGGETT and REYES stand there watching DR. RIETZ spoon feed the green jello to OLIVER MARTIN. It's a wonderful sight to see. And yet ... ) DOGGETT: So close, Dana. I'm sorry you don't get your proof. SCULLY: Me, too. Well, maybe I've had it these past nine years. If not proof of the paranormal, then ... of more important things. (At her words, they all turn back to the room to see DR. RIETZ and OLIVER MARTIN, who has a smile on his face-possibly the first one they've seen. SCULLY leaves the two agents alone in front of the window.) DOGGETT: Here's hoping the TV stays off and he learns how to love the real world. (DOGGETT glances at REYES, then turns to look back into the room. REYES is left there looking at DOGGETT. She looks down and reaches for his hand and DOGGETT accepts it.) REYES: I think you are getting the hang of this job. (DOGGETT looks down at their clasped hands. He smiles a goofy un-DOGGETT-like grin. They both turn to look back into the room.) FADE TO BLACK. ========================== THE END ========================== [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. Captioned by media access group at wgbh access.Wgbh.Org] For corrections / inaccuracies contact: steph@philedom2k.com from http://xftse.philedom2k.com/scripts/scripts.php or the Transcriptionist at (intrepidly002@yahoo.com) Music by Mark Snow. wow. ========================== TV BEGINNING CREDITS & OS SITE CAST INFORMATION (where available) ========================== THE X-FILES 9X18: SUNSHINE DAYS EPISODE #9ABX18 ORIGINAL AIR DATE: 05/12/2002 WRITTEN AND DIRECTED BY VINCE GILLIGAN Starring: GILLIAN ANDERSON as Special Agent Dana Scully ROBERT PATRICK as Special Agent John Doggett ANNABETH GISH as Special Agent Monica Reyes MITCH PILEGGI as Assistant Director Walter Skinner Created by Chris Carter Guest Starring: MICHAEL EMERSON as Oliver Martin JOHN AYLWARD as Dr. John Rietz TYSON TURROU as Blake McCormick STEPHEN W. BRIDGWATER as Dr. Henry Jacocks and DAVID FAUSTINO as Michael Daley Music by MARK SNOW Editor: JEFF CAHN Production Designer: COREY KAPLAN Director of Photography: BIL ROE, ASC Producer: HARRY V. BRING Supervising Producer: DAVID AMANN Supervising Producer: PAUL RABWIN Co-Executive Producer: KIM MANNERS Co-Executive Producer: MICHELLE MacLAREN Executive Producer: JOHN SHIBAN Executive Producer: VINCE GILLIGAN Executive Producer: FRANK SPOTNITZ Written and Directed by VINCE GILLIGAN ========================== TELEVISION ENDING CREDITS ========================== Executive Producer: CHRIS CARTER TEN THIRTEEN PRODUCTION (in association with) 20TH CENTURY FOX TELEVISION: A NEWS CORPORATION COMPANY Executive Story Editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-Starring: Arlene, Skinner's Assistant: ARLENE PILEGGI Orderly: DAMON KAYLOR Anthony Fogelman: ERIC DON "Carol Brady": ROBBIE TROY "Mike Brady": KEITH FORSTER "Alice": MARCIE LYNN ROSS "Marcia Brady": DANIELLE SAVRE "Greg Brady" NICK CAMPISANO "Jan Brady" STEPHANIE M. HERRERA "Peter Brady" NOLAN IRWIN "Cindy Brady" SHARAYAH MONTGOMERY "Bobby Brady" JACK BENSINGER Casting by: RICK MILLIKAN, C.S.A. Unit Production Manager / Co-Producer: TIM SILVER First Assistant Director: LYNNE D'ANGONA Second Assistant Director: NINA JACK Visual Effects Producer: MAT BECK Art Director: SANDY GETZLER / PHIL DAGORT Set Decorator: TIM STEPECK Assistant Set Decorator: KRISTEN PETERSON Leadman: DAVE NAPOLI Script Supervisor: CAROL BANKER Gaffer: JONO KOUZOUYAN Key Grip: TOM DOHERTY Special Effects: BOB CALVERT Stunt Coordinator: DANNY WESELIS Visual Effects Supervisor: JOHN WASH Make-up Department Head & Special Make-up: CHERI MONTESANTO-MEDCALF Special Make-up: MATTHEW W. MUNGLE Hair Department Head: DENA GREEN Make-up for Ms. Anderson: LAVERNE MUNROE Costumer for Ms. Anderson: NADINE HADERS Costume Designer: LUELLYN HARPER THOMAS Costume Supervisors: ROBERT JACOBS / JENNIFER SOULAGES Property Master: TOM DAY Camera Operator: JIM ETHERIDGE Steadicam Operator; STEPHEN COLLINS Location Managers: ILT JONES / MAC GORDON / MICHELLE LATHAM Transportation Coordinator: STEVE DUNCAN Construction Coordinator: DUKE TOMASICK Sound Mixer: RON COGSWELL Production Accountant: NANCI ETCHELLS Production Coordinator: JASON A. SCHOMAS Script Coordinator: MICHAEL DALEY Researcher: KATRINA CABRERA ORTEGA Post-Production Coordinator: POLLY JOHNSON Writers' Assistant: GABE ROTTER Post Production Supervisor: JASON HARKINS Original Casting by: RANDY STONE, C.S.A. Casting Associate: KIMBERLY NORDLINGER Casting Assistant: ELISHA GRUER Extra Casting: CENTRAL CASTING & CENEX Second Unit Director of Photography: BOB LABONGE Second Assistant Director: STACI LANKIM BOGGERI Gaffer: DON BIXBY Key Grip: JOEY KRAFT Assistant Editors: DEBORAH CHALEW / MARILYN MOORE Scoring Mixer: LAROLD REBHUN Music Editor: JEFF CHARBONNEAU DaVinci Colorist: ANTHONY R. SMITH Dallies Colorist: PETER RITTER On-Line Editors: KIP GIBSON / MARTY ROSENSTOCK Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / BRIAN HARMAN Vice-President, Ten Thirteen: MARY ASTADOURIAN Office Manager, Ten Thirteen: JANA FAIN Assistant to Chris Carter: BRAD FOLLMER Assistants to the Producers: SANDRA TRIPICCHIO / GENNIFER HUTCHISON / BLAKE MCCORMICK / GINGER WADLEY / STEPHANIE M. HERRERA Main Title Design by IMAGINARY FORCES Original Main Title Concept by: CASTLE / BRYANT / JOHNSEN Processing by DELUXE LABS Telecine & Electronic Assembly by HOLLYWOOD DIGITAL Presented in DOLBY SURROUND where available Camera Systems by PANAVISION Elements from THE BRADY BUNCH Courtesy of PARAMOUNT PICTURES This production has not been approved, endorsed, or authorized by the Federal Bureau of Investigation. Copyright (c) 2002 Twentieth Century Fox Film Corporation All rights reserved #9ABX18 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and events depicted in this photoplay are fictitious. Any similarity in actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any other unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability. Dated: 06/15/2002~lky