"Ghost in the machine" - Episode 1x06 (videos,guide,stills,transcript)

Videos
Ghost in the machine - Trailer

Episode guide

(Source: http://xfiles.wearehere.net/episodes/1x06.htm )

1X06 Ghost in the Machine

When Benjamin Drake, the CEO of Eurisko is electrocuted in his office washroom, Mulder's old partner from the violent crimes section Jerry Lamana is given the case. On probation following an incident in Atlanta when he mislaid some evidence that resulted in a federal judge being disfigured, he knows this case is important to his future at the FBI, so he requests Agent Mulder and Scully's assistance. Their examination of the crime scene reveals that Drake answered an incoming phone call moments before he was electrocuted. Evidence of a sophisticated booby trap, but with only a few people with access to the building's Central Operating System (COS) the list of suspects is small. Top of the list is the Eurisko company founder programmer Brad Wilczek, who had fought with Drake about the COS system he has been working on. The evidence mounts when Scully uses a voice analyser on the recording of the phone call Drake received from the talking clock and matches the voice to Wilczek. Agent Lamana wants to be the one to arrest Wilzcek and follows him to the Eurisko building, only to be killed when the lift he is riding in drops 29 floors to the ground. Mulder meets with his contact Deep Throat who explains that Wilzcek was working on artificial intelligence. Mulder becomes convinced that the COS machine at the Eurisko Building is to blame, and enlists the help of Wilczek to destroy the system before the Defence Department get their hands on the technology.

Noteworthy Quote

Mulder: "They can't just take a man like Brad Wilczek without any explanation.."

Deep Throat: "They can do anything they want."

Credits

Writer:	Howard Gordon
	Alex Gansa
Director:	Jerrold Freedman

Cast:

David Duchovny	Special Agent Fox Mulder
Gillian Anderson	Special Agent Dana Scully

Guest Cast:

Wayne Duvall	Special Agent Jerry Lamana
Gillian Barber	Special Agent Nancy Spiller
Rob Labelle	Steven Wilczek
Jerry Hardin	Deep Throat
Blu Mankuma	Claude Peterson
Marc Baur	Man In Suit
Bill Finck	Sandwich Man
Theodore Thomas	Clyde
Tom Butler	Benjamin Drake

Episode Stills

Transcript Ghost in the machine 1x06

((Source: http://www.insidethex.co.uk/transcrp/scrp106.htm )

---

SCENE 1
EURISKO WORLD HEADQUARTERS
CRYSTAL CITY, VI

(High rise office building, exterior. Office with two men arguing.)

SCRUFFY GUY: Look, Ben. This is what infuriates me. Don�t you see? It�s so painfully obvious. Why do you think our stock�s in the toilet? Because you�re cutting research and development in half. You�ve forgotten what the adventure�s all about.

SUIT GUY: (BAD dub job on the voice) Like it or not, the industry�s changing. We need to make some hard choices.

SCRUFFY GUY: You save your sound bite for the press.

SUIT GUY: Let�s not relive the stockholder�s meeting again.

SCRUFFY GUY: Don�t you get it? You�re killing me! You�re killing my company!

SUIT GUY: Eurisko is not your company, Brad - - not any more. And you damn well better grow up and get used to it.

SCRUFFY GUY (BRAD WILCZEK): (exiting angrily) You�re going to regret this.

(Night. SUIT GUY typing from tape recorder in his office.)

SUIT GUY: (recorded) New paragraph. As I�m sure everyone on the Board will agree, Eurisko has to face head on the realities on an increasingly competitive world. (focus on camera overhead) Since the unfortunate departure of Brad Wilczek, I have made certain recommendations which I believe will reposition Eurisko as an industry leader.

(Focus on camera monitor filming SUIT GUY - COS SCANNING: DRAKE, BENJAMIN - DATA INTERCEPT)

At the top of this list, is the immediate termination of the COS project.

(COS computer monitor starts flashing little lights like the computers in the 1960�s Star Trek)

It�s disastrous performance over the past three quarters and projected losses well into 1994 leave us no other choice.

(COS watches SUIT GUY, DRAKE, check his watch then go into his private bathroom where he hears water running. The sink is overflowing. Drake shuts off the water and is now wet standing in a puddle. The phone rings. DRAKE answers)

DRAKE: Hello? Hello!

PHONE VOICE: At the tone, Eastern Standard Time will be 7:35 P.M.

(Suddenly, lights go out and bathroom door slams shut. DRAKE sets down phone)

DRAKE: What the hell?

(He tires the door, no luck. He swipes his card key, no luck. He puts metal manual override key in the lock and ..... WHAMMMO!!! Huge electrical shock flings him across the room, breaking the mirror. Camera focus on DRAKE�S body.)

COMPUTER VOICE: File deleted.

---

---

SCENE 2
FBI HEADQUARTERS
WASHINGTON, D.C.
(Agent JERRY LAMANA walking through FBI office. He swipes some candy out of someone�s Halloween pumpkin. He approaches MULDER and SCULLY who are getting lunch at a cart.)

JERRY: Mulder.

MULDER: (hugging him) Jerry?

JERRY: You�re Dana Scully, right? (shakes SCULLY�S hand) Jerry Lamana.

MULDER: Jerry and I worked together in Violent Crimes.

JERRY: Worked together? What are you talking worked together. (to SCULLY) We were partners.

(MULDER looks at SCULLY)

LUNCH CART GUY: That�s $8.50, please. (SCULLY starts to pay him)

MULDER: So, Jerry, what are you doing here?

JERRY: Looking for you. And I�m buying you two lunch.

SCULLY: No, really ...

JERRY: No, it�s on me. (pays LUNCH CART GUY)

---

SCENE 3
X-FILES OFFICE

(MULDER and SCULLY listening to JERRY)

JERRY: Cause of death was electrocution.

SCULLY: And it wasn�t accidental?

JERRY: It looks like some kind of elaborate booby trap, but we don�t know a whole lot more. The building engineer just found him twelve hours ago.

SCULLY: Who�s running the investigation?

JERRY: Do either of you know Nancy Spiller?

SCULLY: The forensics instructor at the Academy? (to MULDER) We used to call her the Iron Maiden.

JERRY: On a good day. Well, anyway she�s putting together the squad and, well, I took the liberty of mentioning your name. (to MULDER)

MULDER: Look, Jerry. I�d like to help you out, but we�re not on general assignment.

JERRY: Because of the X-Files? (slightly desperate, to MULDER) Look, the truth is, I could use a little help on this. I don�t want to drop the ball on this one.

MULDER: You won�t drop the ball.

JERRY: Drake wasn�t just a CEO of a Fortune 500 company. He was a good friend of the Attorney General�s. Another feather in my cap would be really nice right now, because the one I got�s looking a little mangy.

MULDER: Yeah, but Jerry ...

JERRY: Look, I wouldn�t ask if it wasn�t important.

---

SCENE 4
EURISKO WORLD HEADQUARTERS

SCULLY: How come you two went your separate ways?

MULDER: I�m a pain in the ass to work with.

SCULLY: Seriously.

MULDER: I�m not a pain in the ass? We had different career goals. Jerry wanted the fifth floor.

SCULLY: And you?

MULDER: I was gunning for a basement office with no heat or windows.

(Security camera follows them inside the building.)

SCULLY: I know where you ended up. What about Jerry?

MULDER: He ran into a little bad luck in Atlanta working hate crimes.

SCULLY: What kind of bad luck?

MULDER: He misplaced a piece of evidence, bagged and everything. Sent it to the cleaners. By the time he got it back, a federal judge had lost both his hands and his right eye.

(Elevator dings and they enter. Security camera watches them.)

SCULLY: (pushing button) Twenty-nine?

MULDER: Uh-huh.

ELEVATOR: Going up.

SCULLY: Must be for the visually impaired.

MULDER: How do you like that? A politically correct elevator.

ELEVATOR: Third floor....Fourth floor....

(Elevator slams to a stop. SCULLY falls. MULDER helps her up.)

MULDER: You okay?

SCULLY: Yeah. What was that?

(MULDER tries buttons. SCULLY picks up phone. As she does, it rings. She looks surprised.)

MAN�S VOICE: Yes?

SCULLY: Hello?

MAN�S VOICE: Security. Who�s this?

SCULLY: This is Agent Dana Scully.

MAN�S VOICE: Agent Scully, do you have a problem? (Elevator begins going up again, announcing floors.)

SCULLY: Uh, actually, I think everything�s okay.

(Security camera monitor reads - DISTRICT OF COLUMBIA PHONE SEARCH
SCULLY, DANA 202-555-6431)

---

SCENE 5
DRAKE'S EXECUTIVE BATHROOM

(JERRY, MULDER, and SCULLY looking at door computer controls.)

JERRY: Someone has tampered with the servo. They switched the ground to the negative so that when he put the key in the lock...

SCULLY: ...he completed the circuit.

JERRY: It�s fused. It takes a lot of juice to melt a steel key.

SCULLY: And to throw a 180 pound man ten feet. (Looks at cracked mirror)

MULDER: The, uh, servo switch. Could it have been moved manually?

JERRY: We didn�t find any prints in the surrounding area.

(PETERSON enters the bathroom.)

PETERSON: Sure it could have been switched manually. But whoever did it would have had to override the COS.

MULDR: What�s the COS?

PETERSON: The central operating system. It runs the building. It regulates everything from energy output to the volume of water in each toilet flush.

JERRY: This is Claude Peterson. He�s the building systems engineer. He discovered the body.

MULDER: If somebody wanted to override the COS, what would they ...?

PETERSON: Well, first he�d have to break the access codes which, well let�s just say it wouldn�t be easy.

(Camera watches them)

MULDER: Well, we�re going to need a list of all the people with that kind of know how.

PETERSON: Well, I can tell you right now it�ll be a pretty short list.

MULDER: Would you be on it?

PETERSON: Me? Hey, look. I�m just a glorified building super. All I do is monitor the system. Make sure it�s functioning properly. Like when I saw the overload in Mr. Drake�s office.

MULDER: What about the phone lines? Does the COS monitor all phone calls?

PETERSON: Yes it does. Why?

MULDER: I was just wondering.

PETERSON: Okay, um, look. Can I go now?

JERRY: Yeah. (Camera watches PETERSON leave. To MULDER) Why�d you ask him about the phones?

MULDER: Phone�s off the hook. (hangs it up) Maybe Drake was talking to someone right before he did his Ben Franklin impersonation.

JERRY: (to SCULLY) Taught him everything he knows. (he exits)

(MULDER nods and smiles tightly at SCULLY who looks a bit over it.)

---

SCENE 6
FBI HEADQURTERS
WASHINGTON, D.C.

(X-Files office. MULDER is looking around on his messy desk. Knock at door.)

MULDER: Come in.

SCULLY: (entering) It�s past three.

MULDER: I�m just looking for my profile notes.

SCULLY: Maybe if you cleaned your desk more than once a year.

MULDER: They were right here. I�m telling you.

SCULLY: Come on. We�re late.

(MULDER looks around one more time. SCULLY hands him his jacket and they exit.)

---

SCENE 7
CONFERENCE ROOM

(Investigative team meeting. MULDER stares at the wall as JERRY reads notes)

JERRY: Now, there are a couple of elements for us to consider, here. Both the statistical rarity of homicidal electrocution and the complexity of the crime indicate a certain devious premeditation. After all, there are much simpler ways of killing someone. All of which leads me to believe that our guy was some kind of sociopathic game player - - maybe even a recluse since he designed a trap not only to avoid detection, but to avoid contact with the victim.

SCULLY: (whisper to MULDER) Is that your profile?

MULDER: (whisper) Forget it, huh?

JERRY: Drake�s final phone call supports this theory. (plays tape)

COMPUTER VOICE: At the tone, Eastern Standard Time will be 7:35 P.M.

JERRY: Drake's estimated time of death.

AGENT SPILLER: Why would Drake call for the correct time just before he died?

JERRY: It was an incoming call. From somewhere in the Eurisko building itself. Whoever set the trap wanted to make sure that Drake took the bait.

AGENT SPILLER: Excellent work, Agent Lamana.

JERRY: Thank you.

(MULDER looks not happy)

---

SCENE 8
FBI BUILDING

(MULDER approaches JERRY in the FBI bullpen)

MULDER: Jerry, what the hell are you doing?

JERRY: Hey, don�t get all bent out of shape.

MULDER: Jerry, that was my profile.

JERRY: Look, I didn�t think you�d mind. (Starts to leave, MULDER stops him) Anyway, they were just notes. I filled in the blanks.

MULDER: Jerry, you went into my office and you stole my work.

JERRY: Look, you�re on this case �cause I asked you to help me out, and you helped me out. What is the big deal. (exits as SCULLY enters)

SCULLY: What did he say?

MULDER: He apologized - in his own way.

SCULLY: I just got off the phone with Peterson, the systems engineer. (hands MULDER a piece of paper)

MULDER: One name? Brad Wilczek?

SCULLY: He said it would be a short list. And it�s headline news how much this guy despised Drake.

MULDER: That just seems too obvious. To kill Drake would be so brazenly egomaniacal.

SCULLY: And fully consistent with Jerry�s excellent behavioral profile.

MULDER: Fully. (as they exit)

---

SCENE 9
WILCZEK�S OUNTRY CLUB HOUSE

(MULDER and SCULLY drive up. As they walk to the front door, a camera follows them)

MULDER: So this is what a 220 IQ and a $400 million severance settlement buys you.

(SCULLY knocks. WILCZEK opens door immediately)

WILCZEK: Yes?

SCULLY: (surprised) Brad Wilczek? (MULDER shows badge) We�re with the FBI.

WILCZEK: What took you guys so long. Oh, do you mind taking off your shoes?

(WILCZEK leads MULDER and Short!SCULLY barefoot through the house)

WILCZEK: You can divide the computer science industry into two types of people - - neat and scruffy.

SCULLY: I take it Benjamin Drake fit into the first category.

WILCZEK: Neat people like things neat. They wear nicely pressed suits and work on surface phenomena. Things they can understand. Market shares, and third quarter profits.

SCULLY: And you had a different vision for the company?

WILCZEK: I started Eurisko out of my parents� garage. I was 22 years old. I�d just spent a year following around the Grateful Dead. You know what Eurisko means?

MULDER: That�s from the Greek, isn�t it? Um, "I learn things."

WILCZEK: Not exactly. It means "I discover things." (MULDER shrugs) Unfortunately, Ben Drake wasn�t interested in discovery. He was a short-sighted, power-hungry opportunist. (Goes to computer) Let me show you something - Smart Home. From this prototype, I have access to every square foot of my house. This place is as safe as Fort Knox and as energy efficient as your average igloo. We were two years ahead of Microsoft and Cebus when Drake, in his infinite wisdom, killed the program.

MULDER: Mr. Wilczek, is this system related to the one in your corporate building?

WILCZEK: Variation on a theme.

MULDER: In your opinion, how many people know the system well enough to override it?

WILCZEK: Finally the bonus question. Not many is the answer.

MULDER: Could someone have hacked into the system?

WILCZEK: Well, not your average phone freak, that�s for sure. But there�s plenty of kooks out there. Data travelers, Electro wizards, techno anarchists. Anything�s possible.

SCULLY: Could you have done it?

WILCZEK: Of course. I designed the system. That�s why you guys are here, isn�t it? I�m your logical suspect.

SCULLY: You don�t seem too worried.

WILCZEK: It�s a puzzle, Miss Scully, and scruffy minds like me like puzzles. We enjoy walking down unpredictable avenues of thought, turning new corners - - but as a general rule, scruffy minds don�t commit murder.

(MULDER and SCULLY share a look under ominous music)

---

SCENE 10
SCULLY�S APARTMENT

(SCULLY working at computer)

SCULLY VOICE OVER: Some see genius as the ability to connect the unconnected -- to make juxtapositions, to see relationships where others cannot. Is Brad Wilczek a genius? I don�t know. But I do know this for certain. He has a predilection for elaborate game playing. He has an intimate knowledge of the Eurisko building and he has a demonstrable motive for killing Benjamin Drake. The question remains. But if he is so clever how do we nail him? End of field journal, October 24, 1993.

(SCULLY turns off monitor, turns off light, goes into bedroom removing earrings, jacket and shoes. Computer beeps, monitor turns back on (?!) modem connects. SCULLY�S report comes up along with message "COS SCANNING: Scully, Dana --- Data Intercept." Camera shows that screen is now that of the COS inside the Eurisko building that we saw in the teaser.)

COS COMPUTER: File opened.

---

SCENE 11
X-FILES OFFICE

(MULDER and SCULLY listening to tapes of WILCZEK. SCULLY isolates the word "eastern." JERRY enters.)

MULDER: (to SCULLY) Will you give me a second? (SCULLY nods. MULDER steps outside the office with JERRY.)

JERRY: Look, I�m here with my hat in my hand. I screwed up - - I�m sorry. (Grins) What more can I say?

MULDER: All you had to do was ask. I would�ve helped you with the profile.

JERRY: You don�t know what it�s like, Mulder.

MULDER: What *what�s* like?

JERRY: You heard about Atlanta?

MULDER: Yea ...

JERRY: They got me on six month�s probation. I got to file daily reports like some cherry new agent.

MULDER: That was bad luck. That could have happened to anybody.

JERRY: Not to you.

MULDER: Don�t run yourself down, Jerry. You�re a good agent. We did some good work together.

JERRY: Let�s face it. I was tagging along.

MULDER: That�s not how it was.

JERRY: How would you know, Mulder? You were too busy dazzling them up there on the high wire.

SCULLY: (from the office) Mulder, take a look. (MULDER nods for JERRY to follow, then goes to SCULLY) We borrowed this from the voice biometrics lab at Georgetown. (Indicates voice analyzer.) It�s a computer spectrogram capable of identifying individual speech patterns. Now this is the recording the Central Operating System made of the phone call Drake received just before he died.

RECORDING: At the tone, Eastern Standard Time will be 7:35 p.m.

SCULLY: And this we spliced together from a series of lectures Brad Wilczek gave at the Smithsonian last year.

RECORDING 2: At the tone, Eastern Standard Time will be 7:35 p.m.

SCULLY: Now we�ll stack them. (plays them together)

JERRY: Your saying this is the same person?

MULDER: I�m saying that both voices are Brad Wilczek�s. He may have disguised his voice electronically, but he couldn�t alter the form that is unique to his own speech patterns.

SCULLY: Which means that he was the one that killed Drake. He had the motive and the means. And now we have the physical evidence. (Draws circles on the computer screen with a *hopefully* dry erase marker.) Judge Benson lives in Washington Heights. I can get a warrant in less than an hour.

JERRY: Someone has to make sure Wilczek stays put.

MULDER: I�ll go with you.

JERRY: No. Let me bring him in alone. I need this one, Mulder.

MULDER: All right.

(JERRY leaves, smiling)

---

SCENE 12
WILCZEK�S HOUSE

(WILCZEK typing at computer.)

WILCZEK: Come on, come on. Let me in. (Screen says "Access Denied.") Damn!

(WILCZEK leaves his house and drives off in his early 60�s ? Corvette. On the street, JERRY starts his car and follows.)

---

SCENE 13
EURISKO BUILDING

(WILCZEK runs in past security cameras to elevators.)

GUARD: Mr. Wilczek!

(In elevator camera watches WILCZEK)

ELEVATOR: Going up. Second floor...Third floor...Fourth floor...

(JERRY enters building and shows badge to GUARD.)

GUARD: Can I help you?

JERRY: FBI

(WILCZEK enters control room and begins typing. Screen prints "System access granted.")

COMPUTER: Welcome back, Brad.

WILCZEK: (speaking as he types) You�re not equipped with a voice synthesizer. What is my user level?

COMPUTER: That is now at the discretion of the Operating System.

(JERRY enters elevator.)

ELEVATOR: `Going up. (Counts up floors. At 16th floor WILCZEK notices.)

WILCZEK: What are you doing?

COMPUTER: Sorry. Those commands are not available at your current user level. Try again.

(24th floor. JERRY checks his gun.)

WILCZEK: What are you doing!

COMPUTER: What are you doing! (echo)

(WILCZEK tries to manually shut down system. Elevator sticks between 29 and 30, repeating the numbers very quickly, then stops. Doors open to solid wall.)

JERRY: Oh, man.

(Elevator camera focuses on JERRY.)

ELEVATOR: Going down.

(As elevator goes into free fall, JERRY falls to floor.)

WILCZEK: NO!! Don�t do this!

(Elevator crashes to bottom. Screen goes blank. WILCZEK horrified.)

COMPUTER: Program executed.

---

SCENE 14
X-FILES OFFICE

(MULDER watching video of JERRY falling with the elevator and of WILCZEK watching. SCULLY enters.)

SCULLY: I heard about Jerry. I�m sorry.

MULDER: I don�t think Wilczek did it.

SCULLY: What?

MULDER: It doesn�t make sense. Why would he go back to Eurisko?

SCULLY: To destroy evidence. To cover his tracks.

MULDER: If you were going to destroy evidence, would you pose for the cameras?

(Show SCULLY tape of WILCZEK. SCULLY turns off tape and kneels beside MULDER.)

SCULLY: Mulder, you�ve been through a lot - - more than I think even you realize.

MULDER: I think Wilczek is smarter than this. (Turns on tape again.)

SCULLY: (after deep breath) He just signed a confession. How much proof do you need?

---

SCENE 15
WILCZEK�S HOUSE

(MULDER drives up to Wilczek�s house. Several men in suits are in driveway.)

SUIT #1: Excuse me sir, this is a crime scene. You�re going to have to leave.

MULDER: Yeah, I know. (Shows badge) I ordered the subpoena.

SUIT #1: That subpoena�s been obviated.

MULDER: What are you talking about?

SUIT #1:

(MULDER, obviously NOT having a code five clearance, gets back in his car and leaves.)

---

SCENE 16
PARK BENCH

(MULDER on park bench. DEEP THROAT arrives and MULDER rises to walk with him.)

MULDER: Thanks for coming.

DEEP THROAT: I�m here against my better judgement. In the future I must insist that you respect the terms of our arrangement.

MULDER: I need to know why Brad Wilczek is the subject of a code five investigation. What the Defense Department wants with him.

DEEP THROAT: What do you think they�d want with the most innovative programmer in this hemisphere?

MULDER: Software.

DEEP THROAT: For years, Wilczek has thumbed his nose at any contract involving weapons applications. He�s a bleeding heart.

MULDER: What kind of software?

DEEP THROAT: How much do you know about artificial intelligence?

MULDER: I thought it was only theoretical.

DEEP THROAT: It was, until two years ago. You remember Helsinki, the first time that a chess playing computer ever beat a Grand Master? (MULDER nods.) That was Wilczek�s program. And the rumor was that he did it by developing the first adaptive network.

MULDER: An adaptive network?

DEEP THROAT: It�s a learning machine. A computer that actually thinks. And it�s, ah, become something of a holy grail for some of our more acquisitive colleagues in the Department of Defense.

---

SCENE 17
FEDERAL DETENTION CENTER
WASHINGTON, D.C.

WILCZEK: They make me wear shoes all the time. What else do you want from me?

MULDER: I want you to tell me why you�re willing to spend the rest of your life in prison for a crime you didn�t commit.

WILCZEK: What are you talking about? I�m guilty.

MULDER: I know you�re innocent. You�re protecting a machine -- the Central Operating System at Eurisko.

WILCZEK: If I�m protecting anything, it�s not the machine.

MULDER: Then what?

WILCZEK: After the bomb was dropped on Hiroshima and Nagasaki - - Robert Oppenheimer spent the rest of his life regretting he�d ever glimpsed an atom.

MULDER: Oppenheimer may have regretted his actions but he never denied responsibility for them.

WILCZEK: He loved the work, Mr. Mulder. His mistake was in sharing it with an immoral government. I won�t make the same mistake.

MULDER: But your machine killed Drake. And it killed my friend.

WILCZEK: I�m sorry about what happened. But there�s nothing I can do.

MULDER: And you talk about morality. You�re afraid of the government but you�re willing to accept the risk that your machine will kill again.

WILCZEK: The lesser of two evils.

MULDER: What about a third option. You created that machine. Now you tell me how to destroy it.

---

SCENE 18
OUTSIDE FBI BUILDING

(MULDER and SCULLY walking outside the FBI building.)

MULDER: Wilczek can create a virus that will destroy the system.

SCULLY: Mulder, don�t you see, blaming the machine is an alibi, and a bad one.

MULDER: But it�s the only thing that makes sense. The COS project was posting big losses for Eurisko and Drake was about to terminate the program.

SCULLY: So the machine killed Drake out of self-defense?

MULDER: Self-preservation. It�s the primary instinct of all sentient beings.

SCULLY: Mulder, that level of artificial intelligence is decades away from being realized.

MULDER: Then why was our government trying to usurp Wilczek�s research?

SCULLY: (pulling him aside) Mulder, I think you�re looking for something that isn�t there. And I think it has something to do with Jerry. Maybe it wouldn�t be such a bad idea if you talked to someone.

MULDER: You�re probably right. (Starts to leave.)

SCULLY: Where are you going?

MULDER: To talk to someone. (SCULLY watches him leave)

---

SCENE 19
FEDERAL DETENTION CENTER

(Guard opens door to WILCZEK�s cell. MULDER enters, opens early 90�s laptop, LOL)

MULDER: How much time do you need?

---

SCENE 20
SCULLY�S BEDROOM

SCULLY ASLEEP. CLOCK 1:31. Phone rings. SCULLY picks it up)

SCULLY: Hello?

(Modem sounds are heard over the phone. SCULLY hangs up and runs to her computer which is displaying her files.)

SCULLY: Oh my God. (Dials out on another line.) This is Special Agent Dana Scully, ID number 2317-616. I need you to run a quick trace on a number for me. Yeah, 202-555-6431. Yeah, that�s my number. Somebody�s accessing my computer.

---

SCENE 21
OUTSIDE EURISKO BUILDING
NIGHT

(MULDER opens his trunk, then turns to see SCULLY pulling up. License 3Y7-260)

SCULLY: Mulder!

MULDER: Scully, what are you doing here?

SCULLY: Someone or something�s been scanning my computer files. Tapping my phones. I traced the line. It came from somewhere in there.

MULDER: It�s the machine.

SCULLY: How can we get in?

MULDER: You remember the Trojan Horse? (Reaches in trunk and pulls out VA license plate EURISKO)

(MULDER and SCULLY in car at metal gate entrance to parking deck. Computer scans the EURISKO plate. Green light PASS, and gate slides up.)

MULDER: (grinning) Open, Sesame! (SCULLY is not amused.)

(Computer watches them drive forward. When they are directly under the gate, a red and white bar stops them.)

MULDER: Oh, what the - -

(They look up and see the gate with evil little spikes crashing down on top of the car.)

SCULLY: Mulder!

(Horn is blaring as MULDER and SCULLY crawl out the drivers side of the smashed car. Mechanic!Mulder opens the hood and pulls the plug on the horn.)

MULDER: So much for the element of surprise. What do you say we take the stairs? (Computer watches them cross the garage.)

---

SCENE 22
STAIRWELL

(MULDER and SCULLY in stairwell, SCULLY still in her heels - better woman than I)

MULDER: 28 down, one to go. (Lights go out)

SCULLY: Oh, great. Mulder?

(Long pause. MULDER shines flashlight at SCULLY.)

MULDER: Trick or treat.

(SCULLY sighs. Flashlight illuminates #29. Computer watches. SCULLY reaches for doorknob.)

MULDER: No! (stops her)

SCULLY: What are you doing?

MULDER: I don�t want to make the same mistake Drake made. (Takes insulated screwdriver out of his bag. When he touches it to the lock, WHAMMMMO!!!! Huge flash, lots of sparks. SCULLY jumps back. Beeping sound starts. MULDER tries door. Still locked. He looks around and points at security camera.)

MULDER: (to camera) What are you looking at? (Camera POV as MULDER puts glove over the lens. MULDER takes flashlight and looks around, then up at a ceiling vent. Then looks down at SCULLY.)

(SCULLY, shoeless now, is boosted by MULDER into the vent.)

SCULLY: Unh....

MULDER: There should be a way for you to drop down and open the door.

(SCULLY crawls into air duct tunnel and goes left.)

MULDER: (waiting, to himself) Come on, Scully.

(SCULLY crawling around. Air begins to blow)

(Door beeps and buzzes.)

MULDER: Scully? (Door opens)

PETERSON: Agent Mulder? What are you doing here?

(SCULLY in increasingly windy duct. Has trouble crawling. Debris flying. She is blown backwards. Wheeeee!)

SCULLY: Ahhhhh!!!!!

(She grabs a corner, but slips. Is about to slide into a large spinning fan, but catches another corner. Accidentally drops flashlight which falls into fan knocking off a fan blade.)

(MULDER and PETERSON enter the COS control room.)

PETERSON: The machine�s been acting all crazy. Power surges, shut off. That�s why I�m here so late.

MULDER: Where�s the B port?

PETERSON: Oh, it�s right back here. (Opens console. MULDER gets tool out of his bag.) Look, are you sure you know what you�re doing? Because if you don�t, it�s my job on the line.

(MULDER attaches electronic device to console. Screen reads Access Denied.)

MULDER: Damn.

(SCULLY in wind tunnel pulls out her gun and begins shooting at the fan. Two more blades down.)

(MULDER tries again. Screen reads Begin Algorithm Code Program.)

COMPUTER: System access granted. (MULDER claps his hands together and runs to keyboard.) User code level seven.

MULDER: Now I can put in the virus.

PETERSON: (aims a gun at MULDER) Not bad, Agent Mulder. You know, I�ve been trying to access the CPU for the past two years. Now please, take out your gun and remove the clip. (MULDER sighs, and obeys.) Careful.

MULDER: Defense Department?

PETERSON: Lets just say our paychecks are signed by the same person. Now give me the diskette and step away from the console. (MULDER doesn�t move.) You don�t want to test my resolve, Agent Mulder. (Mulder hands him diskette.)

(Very windblown SCULLY opens the door, pointing gun at PETERSON.)

SCULLY: (don�t mess with me attitude) Put down the gun.

PETERSON: Look, you may think you know what you�re dealing with -

SCULLY: Shut up and drop the gun.

PETERSON: (Setting down the gun) You�re making a mistake, Agent Scully. Compromising your sworn duty. This operation is more sensitive than you can possibly imagine.

MULDER: Don�t listen to him.

PETERSON: The technology in this machine is of enormous scientific interest.

MULDER: The machine�s a monster, Scully. It�s already killed two people. They won�t be able to handle it any better than Wilczek did.

PETERSON: Make no mistake ..... *You* will be held accountable.

SCULLY: (after a pause) Mulder, put in the disc.

(MULDER puts in disc. Doesn�t have to push enter or anything. Hmmm.)

COMPUTER: What are you doing, Brad? Don�t do this, Brad. (Gibberish. Screen fills with gibberish also. Elevator doors open and close, cameras swing back and forth.) Brad....Brad....Why?

(MULDER and SCULLY look relieved. Light all come back on in building.)

---

SCENE 23
PARK

(Outside day on bench with Deep Throat)

MULDER: I checked with Congressman Klebanon and the Department of Corrections Subcommittee. I even petitioned the Attorney General�s office.

DEEP THROAT: You won�t find him.

MULDER: They can�t just take a man like Brad Wilczek without an explanation.

DEEP THROAT: *They* can do anything they want.

MULDER: Where is he?

DEEP THROAT: In the middle of what we in the trade call "hard bargaining."

MULDER: Wilczek won�t deal. He�ll never work for them.

DEEP THROAT: Loss of freedom does funny things to a man, and remember, Wilczek confessed to two murders, and you effectively destroyed the only evidence that could have exonerated him.

MULDER: What else could I have done?

DEEP THROAT: Nothing... Unless you were willing to let the technology survive.

MULDER: The Department of Defense still hasn�t found anything?

DEEP THROAT: They�ve been on it for five days. Wilczek�s virus was thorough. It left no trace of the artificial intelligence. The machine is dead. (DT rises and leaves)

---

SCENE 24
DOD LAB

PETERSON: (on phone) We�ve pushed the pulse code modulations to the limit. Nothing. (Techies carrying around pieces of computer) We�ve combed the parsing subroutine. Yes, sir. Twice. No, sir. Still nothing. But I�d like to request .... Yes, sir. No, I understand. Yes, sir. (hangs up) Well, six more hours before we have to consign the whole damn thing to the metal shredder.

TECH: We�ll do what we can, sir.

(Behind PETERSON, light comes on, camera looks at PETERSON)

PETERSON: (Camera POV) I�m going to figure this thing out if it kills me.

[THE END]

"Shadows" - Episode 1x05 (videos,guide,stills,transcript)

Videos
Shadows - Trailer

Episode guide

(Source: http://xfiles.wearehere.net/episodes/1x05.htm )

1X05 Shadows

Agents Mulder and Scully are contacted by another government agency for their expertise of strange events. They are shown two dead men whose bodies are still warm and show signs of electromagnetic activity. Told only that their throats were crushed from the inside but nothing else about the case, Mulder and Scully can offer no help. After they leave Mulder admits he has seen this before, in the X-files in cases involving psychokinesis. Mulder managed to secretly lift prints off the two bodies during their examination. Using these they discover that the two men were members of an Iranian terrorist group found murder in Philadelphia. At the scene where the bodies were discovered Mulder notices an ATM machine round the corner, on checking the security footage, they see the two men attack a young woman Lauren Kyte. They question Lauren Kyte, a secretary for HTG Technologies whose boss Howard Graves recently committed suicide. Lauren claims that the two men attacked her for her pay check but she broke free and ran off, the agents doubt her story but as they leave their car looses control and crashes. Scully is convinced that Lauren's accomplice sabotaged the car while they were interviewing Lauren. Especially when a photograph reveals Lauren's supposedly dead boss Howard Graves in the background. Mulder however believes Howard Graves is protecting Lauren Kyte from beyond the grave.

Noteworthy Quote

Scully: "You have seen it before, I could tell. You lied to them"

Mulder: "I would never lie. I wilfully participated in a campaign of misinformation"

Credits

Writer:	Glen Morgan
	James Wong
Director:	Michael Katleman

Cast:

David Duchovny	Special Agent Fox Mulder
Gillian Anderson	Special Agent Dana Scully

Guest Cast:

Barry Primus	Robert Dorland
Lisa Waltz	Lauren Kyte
Lorena Gale	Ellen Bledsoe
Veena Sood	Ms Saunders
Deryl Hayes	Webster
Kelli Fox	Pathologist
Tom Pickett	Cop
Tom Heaton	Groundskeeper
Janie Woods-Morris	Ms Lange
Nora Mclellan	Jane Morris
Anna Ferguson	Ms Winn

Episode Stills

Transcript Shadows 1x05

((Source: http://www.insidethex.co.uk/transcrp/scrp105.htm )

---

SCENE 1
HTG INDUSTRIAL TECHNOLOGIES
PHILADELPHIA, PA
HOWARD GRAVES' OFFICE

(Pan along the desk. We see Howard Graves' name plate and a plaque that reads 'One to-day is worth two to-morrows Ben Franklin', pictures of Howard Graves with past and present presidents. LAUREN KYTE takes the pictures of Howard and Clinton off the wall and looks at it while crying. A co-worker, JANE, enters)

JANE: Lauren, I've been looking everywhere! (Lauren puts the picture down) Are you all right? You want some water?

LAUREN: No, I'm fine.

JANE: Oh honey, it's been a couple of weeks now. Do you want to talk?

LAUREN: No. Really, Jane, I'm ok. It's just that I don't know a lot of people who's dead, that's all. I've never known anyone that's killed themselves.

JANE: Oh, maybe after everything gets packed away it will get easier. There won't be a constant reminder. Here's your paycheck. (Jane hands it to Lauren.) Come on... go home.

LAUREN: Ok. (Jane leaves. Lauren is about to leave and the plaque of Ben Franklin's saying moves on the desk. Lauren goes over and picks it up. She takes it with her and leaves.)

---

SCENE 2
NIGHT - ATM MACHINE

(Lauren is at the machine and makes the deposit of her paycheck. She is attacked by two men who take her into an alley. She screams)

---

SCENE 3
TWO HOURS LATER

(Two teens are walking by the same alley. A male and female. The male sniffs in the large garbage dumpster and waves the stink away. He looks up and sees a fire escape.)

MALE: Hey... I know a great place to crash... up that fire escape. Come on. I'll give you a boost.

(He hikes the girl on his shoulders as she tries to pull it down, but it's jammed. A body falls from above to their left and another body falls from the fire escape ladder. They are the two attackers of Lauren Kyte and the girl screams. They both run off.)

---

---

SCENE 4
BETHESDA NAVAL HOSPITAL
BETHESDA, MD

(Mulder, Scully and another man walk into the morgue where two corpses lie under sheets on the slabs. On the other side of the room there are two women and a man standing there.)

MAN: Agent Scully, Agent Mulder, Chief Blevins assures us of your cooperation. We regret any inconvenience at this extreme hour.

WOMAN: We hope your expertise in extraordinary phenomena matters will help us in our investigation.

MULDER: You're not FBI, are you?

SECOND WOMAN: Have you ever seen anything like this before? (She hands Mulder and chart and pulls the sheet off one of the corpse's body. His arm flinches) Abnormal post mortem muscle reflex. Both corpses are still responding to high levels of electrostatic charge.

SCULLY: Any sign of external legions or surface burns?

SECOND WOMAN: None.

MULDER: Time of death? (She doesn't answer, just looks at the other two in the corner.)

SCULLY: Well, it can't be long. The body's still warm.

SECOND WOMAN: Somatic death occurred sometime over 6 hours ago. Their body temperatures have yet to drop below 98.3 degrees.

MULDER: Where did you find them? (No answer) Look, at least tell us the mode of transport. That might tell us why the bodies haven't cooled. (Still no answer from them) Hey, you called us down here. If you want some answers you have to give some. (The man finally answers)

MAN: They traveled 60 minutes by air.

MULDER: Thank you.

SECOND WOMAN: The most troubling aspect of their deaths is the throat area. (She walks over to an X Ray screen.) Larynx, esophagus, and hyoid bone all have been crushed like chalk. There is no evidence of tissue damage. It's as if their throats were crushed... from the inside. (Mulder and Scully take a close look at the X Rays of the men)

MULDER: Who are these guys? (No answer)

SCULLY: If you've conducted your investigation, why consult us?

WOMAN: Because of your work on the X Files. Have you ever seen anything like this?

MULDER: Ah, uh. Never.

MAN: Well, thank you for your time Agent Mulder, Scully. If any inquiry into this meeting be made, we request full denial.

MULDER: I'd say you people already suffer from full denial. (Mulder and Scully leave)

---

SCENE 5
HALLWAY

(Scully and Mulder walk down the hall outside the morgue.)

SCULLY: You lied. You have seen this before, I can tell. You lied to them.

MULDER: I would never lie. I willfully participated in a campaign of misinformation.

SCULLY: Who do you think they were?

MULDER: NSA, CIA, some convert organization Congress will uncover in the next scandal. It's not important who they are but what they have and I'm sure they have no idea because they pulled us in. I have X Files. Each case with an element of what we saw tonight. Residual electrostatic charge, internal mutilation without any external causality...

SCULLY: How can the esophagus be crushed without the neck even being touched?

MULDER: Psychokinetic manipulation.

SCULLY: Psychokinesis? You mean how Carrie got even at the prom?

MULDER: The Russians were doing studies on it. The Chinese still are. Their findings are kept secret. (They get into an elevator)

SCULLY: Ok, I'm intrigued. How can we investigate, we have nothing to go on. (Mulder puts his arm around her shoulders and brings his eyeglasses up and exhales on them. There is a perfect fingerprint on each lens.

---

SCENE 6
HTG INDUSTRIAL TECHNOLOGIES - NEXT MORNING

(Lauren walks into work and scans the newspaper on a desk. Mr. Dorland's secretary comes up to her, scaring her.)

SECRETARY: Just getting in, Lauren? Mr. Graves used to let you get away with that but Mr. Dorland is in charge now. I was wondering if I could have a minute with him. (The secretary looks at his appointments. She pencils in as she talks)

SECRETARY: Tomorrow... at 3.

LAUREN: Can I see him today? It's really important. (Secretary's coffee cup topples spilling coffee all over her desk. They both start to wipe it up. Mr. Dorland comes out of his office)

MR. DORLAND: Is everything all right out here?

LAUREN: Can I speak with you?

---

SCENE 7
DORLAND'S OFFICE

(Lauren enters and Dorland shuts the door. Dorland motions to the chair in front of his desk)

DORLAND: Please. (Lauren sits)

LAUREN: I'm here to give my two week's notice.

DORLAND: Lauren, Jane told me about your crying in Howard's office and I wanted to tell you that you aren't alone. As a matter of fact, we share something special. Howard and I started this company 10 years ago and as long as I've known him he had no interest besides work. So we became like family. I was his brother and you were like a daughter to him. So, of course, I feel very close to you and I want to take care of my family. Stay, Lauren. Please, the company needs you. Especially now. (He reaches down and takes her face in his hands.) I won't let you leave, Lauren. (A bracelet on his wrist tightens and he flinches, taking his hands from Lauren.)

LAUREN: What's wrong? (Dorland finally loosens the bracelet.) I can't. I have to leave. I can't be here anymore.

DORLAND: You've got two weeks. (Lauren leaves his office.)

---

SCENE 8
FBI HEADQUARTERS
WASHINGTON, DC

(Mulder is looking at a computer screen with a picture of one of the corpses.)

MULDER: Mohamed Amalaki. Convictions: Illegal possession of firearms. Illegal possession of explosives. Falsification of export licenses. (Scully walks around him with a file and puts it on his desk)

SCULLY: He has ties to extremist group operating in the US. The Isfahan. They take their name from a city in Iran. Recently they've been working out of Philadelphia.

MULDER: That's 60 air minutes.

SCULLY: I'll talk to the Philly P.D.

---

SCENE 9
BROAD STREET - PHILADELPHIA

(Mulder and Scully are in the alley of Lauren's attack with a cop)

COP: It was last Wednesday night. I was on routine patrol. This is where we found them.

SCULLY: Who discovered their bodies?

COP: Nobody. It was about 10. I was on patrol. Just saw them hanging around. The folks that come around here, they don't witness very much. You hear what I'm saying? (Mulder walks off, Scully and the cop still talking. Mulder sees an anxious woman at the ATM. She leaves and he looks at it.)

---

SCENE 10
FBI OFFICE

(On the surveillance film from the ATM, we see an older man taking money out.)

MULDER: A daily visual record is made of everyone who makes a transaction.

SCULLY: We'll just have to interview everyone who was at the machine before 10 last night.
(We see Lauren at the machine and being dragged off by the two attackers at 9:45.)

MULDER: There. Back up.

SCULLY: (reading in her file) Lauren Kyte. 858 Franklin, Bensalem. Why would the Isfahan being robbing someone for 40 bucks at an ATM machine?

MULDER: Look at that. (He stops the film and there is a ghostly flash across the screen. Hovering over them.)

SCULLY: It's another person.

MULDER: Maybe, maybe not.

SCULLY: Well, the resolution is too poor. It won't help much to enhance it.

MULDER: That leaves only one person we know we can talk to.

---

SCENE 11
LAUREN KYTE'S HOUSE

(She's in the process of moving. She is going to wrap glass things in newspaper when the plaque from Howard's office catches her eye on the mantle. She picks it up. She is startled by a knock on the door. She looks through the keyhole. It is Mulder and Scully)

LAUREN: Hello?

MULDER: Miss Lauren Kyte, please. (She opens the door and Mulder flashes his badge.) I'm Agent Fox Mulder and this is Agent Dana Scully. We're with the Federal Bureau of Investigation. Do you mind if we come in?

LAUREN: Um, I was just in the middle of ...

MULDER: Thank you. We won't be long.

(He squeezes through the door way and past Lauren into the house. Scully enters and smiles at Lauren, who closes the door behind them. Scully shows pictures to Lauren)

SCULLY: Have you seen either of these two men before?

LAUREN: No.

SCULLY: Take your time.

LAUREN: I'm sorry. I've never seen them before.

SCULLY: I'm afraid you have. (Scully shows her another picture) This is a surveillance picture from your ATM. (It's a picture of Lauren and the attackers. Their faces clear.)

MULDER: Can you tell us what happened that night?

LAUREN: Um... These guys, I was depositing my paycheck. They grabbed me, I got away. I ran. I just didn't want to file a report.

MULDER: They were found dead. (She has a reaction. Scully gives her another picture)

SCULLY: Have you ever seen this person before? (It's the still frame from the surveillance video of the spectral image)

LAUREN: No. I'm sorry. I can't tell you.

MULDER: Does that mean you know?

LAUREN: It means I can't tell who it is.

MULDER: When you can tell me, this is the number where I can be reached at anytime, ok?

LAUREN: Ah hum. (Mulder and Scully leave)

---

SCENE 12
OUTSIDE

(Mulder and Scully walk to their car)

SCULLY: A woman her size breaking free and out running those men?

MULDER: And somehow crushing their necks? (They get into the car and put on their seatbelts. Lauren is seen looking at them through her window.)

SCULLY: She knows who the other person in that photo is.

MULDER: Packing, running away, from what? ( The parking brake goes off, the car is put into reverse, and the doors are locked. Mulder tries to brake, put the car spins backward.)

SCULLY: What the hell's going on?

MULDER: Hang on! (He turns around and steers the car speeding backward, trying to brake. The car is hit in the intersection by another car. It comes to a stop) You ok?

SCULLY: Yeah. (Mulder looks over at the other driver, shaking his head wondering what happened. Lauren is still looking out the window and she pulls the drapes when Mulder sees her.)

---

SCENE 13
GARAGE

(Mulder is crouched at the side of the dented car. Scully walks up.)

SCULLY: Hi.

MULDER: Hi. The paramedics check you out?

SCULLY: Yeah. I'm fine. Except I have a waiting-in-line-at-the-DMV-sized headache.

MULDER: Mine's more IRS sized.

SCULLY: They check out the car?

MULDER: Yeah, it's brand new. Only a 100 miles.

SCULLY: Then someone tampered with it while we were in her house.

MULDER: Mechanic said everything is in proper order. Nothing cut, nothing greased. Check out the lights.

SCULLY: They are on.

MULDER: They're not. The filaments are heated due to massive levels of electrostatic charge. Just like the bodies at the morgue. And isn't it interesting that Lauren Kyte was present at both incidents?

SCULLY: She was in our presence the entire time we were at her house.

MULDER: What if it's possible somehow to raise a body's electrostatic charge to levels we've been seeing and use that energy to affect objects?

SCULLY: If a person could generate that much energy, their body would break down. They'd start glowing like those lights.

MULDER: Well there's evidence of this all through the X Files. Furniture moving untouched, objects levitating, unexplained electrical discharges. Frequently people who have psychokinetic power are unaware of their own capability.

SCULLY: Are you saying Lauren Kyte crashed our car?

MULDER: Either that or a poltergeist.

SCULLY: They're here... (imitation of the little girl from the movie, "Poltergeist")

MULDER: They may be.

SCULLY: Oh, come on Mulder, look at the tangible evidence. Two Mid-East extremists are killed trying to assault a woman working for a manufacturer of parts for the Defense Department. While we questioned her our car is sabotaged. Now in both those cases, someone else may have committed those acts. Maybe the same someone we saw in those ATM photos. The mystery isn't psychokinetic energy, it's her accomplice. (They both notice the lights of the car are out.)

---

SCENE 14
HTG INDUSTRIAL TECHNOLOGIES

(Lauren drives into the parking lot and gets out of her car. Mulder and Scully are sitting in their new rental, Mulder with binoculars, Scully going through papers.)

SCULLY: She's clean. No arrest, not even a traffic ticket. The only thing is, she's in deep with her credit card company... $15,000. (They look over at Lauren, mad at a sign painter painting over Howard Graves' parking spot with a new name, Tom Braidwood (Who happens to be a second unit director and Frohike on the show)

LAUREN: No, no. (She grabs the stencil out of the painter's hands) I'll talk to somebody, just go.

MULDER: A little upset over losing a parking space, wouldn't you say? So, who is Howard Graves anyway?

---

SCENE 15
FBI HEADQUARTERS

(Scully is pouring over the microfiche film. Scully gets Mulder's attention and they read an article from a newspaper. Howard Graves Suicide Creates Shock.)

MULDER: She was his secretary. That's three people dead in the last month all associated with Lauren Kyte. (The newspaper article says Howard slashed his wrists in a bathtub.)

---

SCENE 16
CEMETERY - DAY

(Mulder and Scully pull up to the cemetery to see Lauren put flowers on a grave. They watch her as she sadly walks away from the grave site. They get out of the car and go to the grave she put flowers on. It's Howard Graves'.)

MULDER: You don't see too many bosses graves without people dancing on it.

SCULLY: Look at this one. (There is another maker next to Howard's that reads, \'93 Sarah Lynn Graves September 8, 1966 to August 3 1969". There's a groundskeeper planting flowers nearby.)

MULDER: Excuse me, Sir? Is there an office here so that I can get information on those people?

GROUNDSKEEPER: I attend every funeral. I'm the last person to see them put to rest.

MULDER: Do you know how Sarah Lynn is related to Howard Graves?

GROUNDSKEEPER: His daughter. They were at home one day and he didn't latch the pool gate. She drowned. His wife left him a year later. She's buried in a plot in the Northeast corner.

MULDER: Thank you, Sir.

GROUNDSKEEPER: You're welcome. (He leaves. Mulder and Scully go to Sarah's grave again.)

SCULLY: She was only three years old.

MULDER: If she'd lived, she'd be Lauren's age. (Scully looks at Mulder and he looks at her.)

---

SCENE 17
DARKROOM

(Mulder is developing pictures)

---

SCENE 18
SCULLY'S APARTMENT

(Scully is typing into her laptop)

SCULLY (VOICE OVER): Further investigation into Lauren Kyte's personal history reveals an estrangement from her family. Phone records confirm no contact with her parents for the last two years. Her actions observed during surveillance (Go back to Mulder looking at photos taken during the surveillance as Scully continues speaking) indicate a strong relationship between Lauren Kyte and her employer, the late Howard Graves. (Back to Scully typing) Was this relationship somehow the motivation for his suicide? How are the attack and the subsequent murders of the Isfahan agents related, if at all? I am certain that the answers to these questions lie in finding the identity of Lauren Kyte's accomplice. (Back to Mulder looking at the negatives of the photos. One is of Lauren Kyte's house, the next of her front window. There's a figure standing in the window.)

---

SCENE 19
CRIME LAB

(The photo of the figure in the front window is being put on the computer and manipulated. The framing of just the window of the photo is enlarged and we see the figure is Lauren Kyte, but right behind her is another figure. Mulder and Scully are with the computer operator.)

SCULLY: Enhance it by 10. (He does.) That's Howard Graves. He's alive.

MULDER: Not necessarily.

---

SCENE 20
LAUREN KYTE'S HOUSE - NIGHT

(Lauren is asleep in the bed. Her cat is sitting on the end of it and hisses and takes off. We can hear banging. Lauren wakes up. She is scared. The stairs creak. Lauren slowly goes to her closet and gets out a bat. She slowly moves to the door, opens it and looks into the dark hallway. She enters the hallway and the pounding gets louder and we can also hear a man saying, 'No.' She walks down the hallway and there are other voices too, I can't make out what is said besides, 'No.' Then a reverberating 'Don't do this to me.' Lauren moves to the bathroom. The door is ajar and she pushes it open with the bat as we hear, 'No. Stop. No, no, no. Please!' She guardedly moves into the bathroom and turns on the light. The shower curtain is closed. The man's voice is now crying. Lauren pulls open the shower curtain and there is a tub full of water, with a cloud of red in the middle. It grows and soon the entire tub is full of blood.)

LAUREN: Oh, Howard. (The tub drains)

---

SCENE 21
NATIONAL BUREAU OF MEDICAL EXAMINERS
PHILADELPHIA, PA

(Scully and Mulder walk down a flight of steps in a stairwell.)

SCULLY: I think Howard Graves faked his own death.

MULDER: Do you know how difficult it is to fake your own death? Only one man has pulled it off, Elvis.

SCULLY: He and Lauren Kyte are in on something. Maybe an illegal deal through his company. Something the CIA was interested in.

MULDER: You may be right. (They get to the door to the office of Ellen Bledsoe, ME.)

SCULLY: Wait, you think I'm right?

MULDER: Sure, all you got to do is prove that Howard Graves is still alive. (He knocks on the door.)

---

SCENE 22
ELLEN BLEDSOE'S OFFICE

(We see a dour black woman's face, Ellen Bledsoe, I presume.)

ELLEN: Howard Graves is very dead.

SCULLY: May we see the autopsy report, please? (Ellen tosses it across the desk)

ELLEN: Knock yourself out. (Scully reads the report)

SCULLY: Cause of death... arterial hemorrhage...

ELLEN: 4 to 6 liters of blood down the tub.

SCULLY: Well there seems to be some blood work missing here.

ELLEN: We only do that when we suspect homicide.

MULDER: I don't suppose you ran any dental conformation?

ELLEN: What for? It was him.

SCULLY: How did you know?

ELLEN: It said so on the toe tag.

MULDER: Who made positive ID on the body? (Scully looks through the report again.)

SCULLY: Lauren Kyte.

MULDER: But Howard Graves was cremated. There would be no way to run a dental check or to get a DNA sample.

SCULLY: Yes, there is. His body's tissues and organs were donated.

---

SCENE 23
UNIVERSITY OF PENNSYLVANIA HOSPITAL

(Mulder and Scully and another man in a lab coat are standing in a hallway looking through a window to the Cryogenics lab while the man talks. There are lots of people working in the lab.)

MAN: Howard Graves is in 5 different people. They harvested his organs immediately after death. His kidneys were sent to Boston, his liver to Dallas, and his corneas to Portland, Oregon. They've all been transplanted. Because of his age, we could only cryo-preserve the dura matter, the membrane of the spinal column. We have Mr. Graves' hospital records, we'll extract a sample, run a test and in a couple of hours... confirm the identity of the donor.

---

SCENE 24
HTG INDUSTRIAL TECHNOLOGIES
PHILADELPHIA, PA

(There's a party going on. Balloons, champagne hats, lots of people, music, etc.)

JANE: I knew you would rush, so I made sure to have your check before you leave. (She hands it to Lauren) Oh, I'm going to miss you. (They hug. Jane gets teary eyed. Lauren smiles and gives her a glass of champagne.)

LAUREN: What? Here.

JANE: Bye.

LAUREN: Bye. (Lauren walks away from her. She goes to her desk which has all her stuff in a box. She puts her desk nameplate in it. She takes the box and starts to leave, but turns and goes into Howard's office instead, careful to see no one was watching her.)

---

SCENE 25
HOWARD GRAVES' OFFICE

(The office is bare of all personal effects from the beginning of the show. The bare furniture is all that's left. Lauren looks around the office and is startled when the door shuts. She turns and sees Dorland leaning back to the door and smiling.)

DORLAND: You're going to leave without saying goodbye? Well, I've come to say goodbye... to wish you luck, and to leave you with this little thought... I know Howard told you and if it ever gets out, I won't waste my time trying to pin the source. I'll go straight to you.

LAUREN: And you'll do to me what you did to Howard? I know you had him killed.

DORLAND: Why would you say that?

LAUREN: He told me. (She takes her box off the desk and goes to the door, but Dorland grabs her. They jostle and Lauren gets out of the office and walks away. She walks into the party and uses the phone)

---

SCENE 26
UNIVERSITY OF PA OFFICE

(Mulder and Scully are reading and fidgeting. Mulder's cell phone rings. While he answers it, the lab guy enters and talks to Scully.)

MULDER: Mulder. (Cut between Lauren and Mulder)

LAUREN: It's Lauren Kyte. How soon can you get to my house?

MULDER: Why?

LAUREN: Please hurry. (She hangs up and takes her box and leaves. Dorland stands in Graves' office doorway watching her)

SCULLY: The tests are conclusive, the dura matter does belong to Howard Graves. He is indeed, very dead. (Mulder gets up and walks away)

---

SCENE 27
LAUREN KYTE'S HOUSE

(Lauren walks down stairs. She has her suitcases and puts them on the dining table. She finishes up packing up things at her desk. A car with a man and a woman pulls up outside her house. They get out and walk to the front door. Inside, Lauren is pacing. There's a knock on the door. She is relieved and walks across her empty house to the door. She opens the dead bolt. It slides closed again.)

LAUREN: Just a second. (She opens it again, she hears a noise behind her. She jumps out of the way of a kitchen chair that moves across the house and wedges itself under the door knob. The door flies open and the man and woman enter. The man has a switchblade in his hand.)

MAN: Go run the bath. (Lauren falls back into the living room floor.)

LAUREN: Get out of here! (The bulbs in the lamps around the room shatter. The man grabs Lauren and a table slams into him. She gets away. The only light in the room is coming from the window. A spectral presence moves from the dining room to the front door where the woman sees it and tries to get out of the house.) No! (The woman is flung to the door. Her neck is crushed. Lauren screams no as the woman falls to the ground. The man gets out from between the table and fireplace and runs to the door but is flung back on the floor. He looks all around. He stands up. He gets punched in the face, drawing blood but there are no hands. It's like Lauren can't move from where she stands. She screams some more. Mulder and Scully drive up outside. They hear screams from inside the house and race to the front door. Mulder pushes the woman aside as he opens the door. He looks into the living room and the man is hanging from nothing in the middle of the room. Lauren is crying. The man falls to the floor as Scully enters the house, gun drawn. They look at Lauren whimpering in a crouched position on the floor.

---

SCENE 28
INTERROGATION ROOM

(Mulder is sitting across the table from Lauren as Scully leans against a window ledge.)

SCULLY: You know, you're not under arrest. You're just here for questioning. The sooner you talk to us the sooner you get to go home. (Pause) What happened to those people tonight? (Lauren's not saying anything) Do you have any idea who they might be. Why did they attack you? (Mulder picks up a picture and walks around the table and shows it to Lauren)

MULDER: Do you know who this is? (The man from the beginning, the non-talker at the morgue walks in)

MAN: Scully, Mulder... He'll keep an eye on her. (He motions to an officer who enters the room after him.) Come. Now. (Scully and Mulder leave the room with him and the woman from the morgue is there too.)

WOMAN: You've seriously compromised our investigation.

MULDER: We were following leads pertaining to an X File.

MAN: I want to know every detail of your activities concerning this case.

SCULLY: What case? You're the ones who've been withholding information. (They all fall silent.)

MULDER: Then we have nothing more to talk about. (Mulder and Scully walk away. The woman and man follow them to the hallway.)

WOMAN: We believe HTG Technologies was selling restricted parts to the Isfahan. Partial serial numbers from their manifest were recovered in the wreckage of a July bombing of a Navy transport van.

MULDER: How's Lauren Kyte involved?

MAN: We don't quite know. Your actions impeded our investigation.

WOMAN: In any case, we don't have enough evidence to hold her. If she doesn't talk, she goes free and we lose our chance to break this company.

MAN: I could make her talk.

MULDER: My advise to you. Don't get rough with her.

---

LATER

(The door to the interrogation room opens.)

WOMAN: That was a waste of time. (The woman and man walk out. The woman keeps walking. The man regards Mulder and Scully off screen.)

MAN: Your turn. (He leaves. Scully and Mulder walk into the room.)

---

SCENE 29
INTERROGATION ROOM

(Scully and Mulder enter.)

SCULLY: Lauren?

LAUREN: I won't talk to you, either.

MULDER: Ok, then you're free to go. (Lauren looks up surprised and gets up from her chair. Scully throws a surprised look in Mulder's direction as Lauren walks by her. Lauren pauses at the door.)

LAUREN: I can't go back to that house.

MULDER: Why? Because of Howard Graves?

LAUREN: He's dead.

MULDER: I know. He's watching over you, isn't he?

---

LATER

(A tape recorder is rolling)

LAUREN: I don't know if you've ever been a secretary. Sometimes your boss can talk as if you weren't even in the room, which can hurt, you know? Sometimes... you're all he has to talk to. Which is how it was all the time with me and Howard. One night, late, I went into his office. He was crying, more scared than sad. The Pentagon contracts were being canceled, the company was going under, he felt personally responsible for each of his employees... seeing and feeling their fear every day... it really wore him down. Then this one time, Dorland came with that group... that Mid East group... Isfahan, that terrorist group. They'd buy parts at an outrageous price. Not just once, but for as long as they could get away with it. That night Howard was crying, he'd just found out the Isfahan had just claimed responsibility for killing a couple of sailors in Florida. He was never the same. And I thought that was why he killed himself. But he didn't... I saw ... Howard showed me how Dorland had him killed. Made it look like a suicide because he see Howard was going to put an end to the deal.

MULDER: So now Howard is protecting you?

LAUREN: It sounds so ridiculous.

SCULLY: But you believe it.

LAUREN: He was closer to me than my father. I told him that. I still feel his presence. Sometimes... I even smell his aftershave. If you just could've ... seen ... the things I've seen... I just... want all that to go away. I'm leaving. Maybe he can move on. (Scully gets up from the table and go to Lauren.)

SCULLY: That's not enough. You've been given the chance to tell him again. Take it. Tell him you love him, by showing him, by... helping us finish his unfinished business. Lauren, how will you ever be able to rest if he never can? (Lauren nods.)

LAUREN: Ok. (Scully nods too.) I'm a mess. I'm um, going to wash up. (She leaves.)

MULDER: What are you doing Scully? You don't believe.

SCULLY: Mulder, there's no such thing as ghosts or psychokinesis. I'm sure there's an explanation. But I believe that she believes. And my priority is to get to her help us stop Dorland.

MULDER: Well we may have just sacrificed our best opportunity to observe spectral phenomena.

SCULLY: I'm giving us a chance to solve a case that's tangible instead of chasing after shadows.
(Scully leaves leaving Mulder to ponder.)

---

SCENE 30
STAIRCASE

(Lots of FBI come down the stairs, Mulder with them. He goes to Lauren standing by a car. Scully approaches.)

MULDER: You ready? (She nods. Scully addresses the troops)

SCULLY: All right, everyone. We have a warrant to search the premises for evidence of the sale of restricted manufactured parts. The evidence may be in the form of falsified export licences, parts manifests, communiques. It could be on computer disks or hard copy.

MAN: (from morgue and interrogation room) Once there, when in doubt, ask. We need this to be clean. This is the culmination of a year long investigation. If we don't come out of there today with something proving a connection to the Isfahan, this guy could walk.

SCULLY: Lets go. (The man break up. Lauren walks with Scully.) Now, it will most likely be in Dorland's office. We'll conduct the search, but we need you to guide us so we need you to be strong, okay? (Scully opens the back door of the car for her. Lauren gets in. The cars pull out.)

---

SCENE 31
HTG INDUSTRIAL TECHNOLOGIES

(The FBI walk into the office. Scully walks in with them with her badge.)

SCULLY: Everybody stay calm. Federal Bureau of Investigation. Ma'am, could you step away from those files, please?

(The FBI moves people around and out of the way and others start looking in files, drawers, reports, etc. Dorland comes out of his office. Scully and Lauren walk by him into his office. Mulder stays outside with him.)

DORLAND'S OFFICE

(Scully puts things into a box. Lauren searches through his bureau and books.)

LATER

(The man and woman from the morgue go to Mulder and Scully.)

WOMAN: This is all we could find.

MULDER: We don't have him. He's not even breaking a sweat. (Dorland is standing in a corner with the employees, engaging in small talk. The man walks up to Mulder.)

MAN: Our case is blown. A wasted year. This guy is going to walk. (The man and woman leave.)

---

SCENE 32
DORLAND'S OFFICE

(Scully walks to the door and out with a box of things taken from his office as Mulder enters)

SCULLY: Let's get out of here. (Mulder walks to Lauren still at the bureau. She is distraught.)

MULDER: Lauren, it's over. We have to go. (She looks around the room as Dorland enters.) What we're looking for isn't here. (Lauren takes a letter opener from the desk and smashes the glass in a picture frame and takes out the photo.)

DORLAND: Look! She isn't an agent. I don't want to be uncooperative or combative, but she has no right destroying my personal property. (Lauren takes a painting from the wall and opens the back. Nothing but a painting.

LAUREN: Destroying property? What about that van that blew up and killed those servicemen?

DORLAND: Oh, I don't know what you're talking about you stupid bitch! (Lauren ruches Dorland with the letter opener.)

MULDER: Lauren, No! (Dorland pushes her away and he is pushed against the wall by Howard. The door slams shut. Dorland starts gasping at his neck. He can't breath.

LAUREN: He'll kill him. Help us find it! (Dorland slides to the floor. The track lighting explodes. The bulbs in the lamps explode. Mulder grabs Lauren.)

MULDER: Get down. (Outside the office, Scully hears the commotion and runs back to Dorland's office door. It's locked.)

SCULLY: Mulder! (Inside the office, it's dark and we hear Scully yelling. Pictures fly from the wall. Drawers open and papers fly around the room. The letter opener hovers in front of Dorland's face. It turns and flies into the wall. It slits the wallpaper about two feet and stops. The noise and flying papers die down and Scully bolts into the room. She looks around at the mess.)

SCULLY: My God. (Mulder walks across the wall to wall paper to the wall and takes a floppy disk out from behind the wallpaper.)

MULDER: I guess what we're looking for is here.

---

SCENE 33
LAUREN KYTE'S HOUSE

(A moving trailer is hitched to Lauren's car. Scully, Lauren and Mulder walk to it. Lauren is carrying a box.)

SCULLY: The US Attorney's office is going after Dorland with everything they've got. Including the murder of Howard Graves.

LAUREN: I'll come back to testify. (She puts the box in her trunk.)

MULDER: Where are you going?

LAUREN: Away from here. (Lauren gets into the drivers seat and starts the car.) Thanks. (She drives off.)

MULDER: Boy, she's in a rush to get out of here.

SCULLY: Out of here, or away from the ghost of Howard Graves? (They walk to the car.)

MULDER: Hey, Scully. Do you believe in the afterlife?

SCULLY: I'd settle for a life in this one.

MULDER: Have you ever seen the liberty bell?

SCULLY: Yes. (They get into the car and fasten their seat belts.)

MULDER: You know, I've been to Philadelphia a 100 times and I've never seen it.

SCULLY: You're not missing much. It's just a big bell with a big crack, and you have to wait in a long line.

MULDER: Yeah, (Mulder starts the car and drives off) but I'd really like to go.

SCULLY: Why now?

MULDER: I don't know. How late do you think they stay open?

---

SCENE 34
LAUREN'S NEW WORKPLACE

(Howard Graves' plaque with Ben's quote is on her desk. She brings a report to her new head secretary.)

HEAD SECRETARY: Miss Kyte, I asked for this 25 minutes ago.

LAUREN: I know. I'm sorry.

HEAD SECRETARY: Maybe that's the way they work back in the East, but here in the Midwest, punctuality is a virtue. (She takes the report and goes back to what she was doing. The coffee cup on the secretary's desk starts shaking. Lauren is nervous. The secretary sees it and covers it with her hands.) We really need to find a new office space. Every time a truck goes by the whole building shakes. (She takes a sip of her coffee. Lauren is relieved.) That's all Lauren. (Lauren goes back to her desk. She smiles at the plaque.)

[THE END]