"Excelsius Dei" - Episode 2x11 (videos,guide,stills,transcript)

Videos
"Excelsius Dei" - Trailer

Episode guide
(http://www.tv.com/the-x-files/excelsis-dei/episode/525/summary.html)

2X11 Excelsius Dei

Mulder and Scully investigate when the rape and battery of a nurse takes place in a Massachusetts convalescent home. The nurse claims that she was attacked by one of the residents but also claims they were invisible. Mulder and Scully soon discover that it may not be one of the residents after all...

Noteworthy Quotes

Mulder: "Whatever tape you found in the VCR isn't mine."
Scully: "Good, because I put it back in the drawer with all of the other tapes that aren't yours."

Hal: "If I attacked that nurse, I should be in the Guinness record book. I'm 74 years old. I've got plumbing older than this building...(opens his robe to show them)...and it don't work much better either."
Mulder: "Thank you for sharing."

Credits

Writer:	Paul Brown III
Director:	Stephen Surjik

Cast:

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

Guest Cast:

Ernie Prentice	Leo Kreutzer
Paul Jarrett	Upshaw
Frances Bay	Dorothy
Teryl Rothery	Nurse Michelle Charters
Eric Christmas	Stan Phillips
David Fresco	Hal Arden
Sab Shimono	Gung Bittuen
Tasha Simms	Laura Kelly
Sheila Moore	Mrs.Dawson
Jerry Wasserman	Dr. Johnn Grago
Jon Cuthbert	Tiernan

Episode Stills



Transcript "Excelsius Dei" 2x11
(Source: http://www.insidethex.co.uk/transcrp/scrp211.htm )

---

SCENE 1
EXCELSIUS DEI CONVALESCENT HOME
WORCESTER, MASS

(Night at an old nursing home. Person enters the building. Two male orderlies, UPSHAW and TIERNAN, are watching a boxing match featuring Mike Tyson on TV.)

TV ANNOUNCER: Danelle was an outstanding high school basketball player...

TIERNAN: (air-boxing) Come on, man. Come on. Come on, now. Put �em down � put �em down! Ow! (playfully punches UPSHAW)

UPSHAW: (doesn�t want to box) Hey, man, watch it.

TIERNAN: Come on, Upshaw. Come on, you and me, buddy! Let�s go!

UPSHAW: You�re a moron, Tiernan.

TIERNAN: (still boxing) Come on. Let�s go!

(NURSE CHARTERS, 30�s, no nonsense type, has entered the room and looks at the two men with disgust.)

NURSE CHARTERS: You�re both morons, as far as I�m concerned. Now who�s watching the floor?

UPSHAW: What�s his name, the Skink.

TIERNAN: Guess who died this afternoon? Mrs. Richardson.

UPSHAW: (chuckles) Face plant, in a bowl of pudding.

NURSE CHARTERS: I don�t suppose either of you changed her room.

UPSHAW: Oh, no. We left that for you.

(She gives them a humorless smile, and picks up some sheets.)

TIERNAN: (back into game) Ow!

TV ANNOUNCER: Mike Tyson, a disciple of Costanaro �

(NURSE CHARTERS leaves the orderlies and enters HAL and STAN�s room. The two elderly residents of the home are also watching the fight.)

NURSE CHARTERS: Okay. Party�s over, gents. (She turns off the TV.)

STAN: (whining) Why�d you do that?

NURSE CHARTERS: �Cause rules are rules, Stan. And I�m the Queen Bitch around here.

HAL: Gung said we could watch the rest of the fight.

NURSE CHARTERS: Well, do I look like Gung to you?

HAL: No. You got a better figure. (his hand is on her butt)

NURSE CHARTERS: You want to keep that hand, Hal, you better let go.

HAL: How about a little sponge bath?

NURSE CHARTERS: How about I take care of these wandering hands of yours? Come here.

(She straps HAL down to the bed with velcro arm bands.)

HAL: You like strapping me down, don�t you?

NURSE CHARTERS: (sarcastically) Oh, yeah. I really get off on it.

(HAL chuckles as she leaves the room. STAN looks over at his friend sadly.)

(In the hall, NURSE CHARTERS passes GUNG, a quiet looking Asian orderly.)

NURSE CHARTERS: Hey, Gung. No TV after 9:00. Do you understand?

GUNG: Dr. Grago said they�re getting better so �

NURSE CHARTERS: Oh, getting better. Right. That�s because they don�t pinch his butt every time he walks into the room.

(GUNG watches her go, then continues down the hall.)

(NURSE CHARTERS removes the "Mrs. Richardson" nameplate from a door and goes into the empty room. She begins straightening up the room, making the bed. Suddenly, the door slams, and the bed is slammed up against the door, blocking it. NURSE CHARTERS goes to the bed and tries to pull it out of the way, but an unseen force flips her onto the bed. The velcro arm straps open. She is then flipped onto her back and the straps close around her wrists. (Camera close on her face as she screams in fear and in pain.)

NURSE CHARTERS: No! Somebody help me! Somebody, please! Please! Please! Please!

(Hall shot outside the room. No one is there. NURSE CHARTERS' screams continue.)

NURSE CHARTERS: Help me! Please, help me! (screams)

---

---

SCENE 2
FBI HEADQUARTERS
WASHINGTON, DC

(Early morning. MULDER enters dark X-Files office and stares at SCULLY who is sitting at his desk watching a video tape. He was obviously not expecting her to be there before him.)

SCULLY: (glancing over her shoulder) Good morning.

MULDER: Whatever tape you found in that VCR, it isn�t mine.

SCULLY: Good. Because I put it back in that drawer with all those other videos that aren�t yours.

(MULDER crosses behind her and sees that the video is of NURSE CHARTERS. Her face is bruised.)

MULDER: Well, this definitely isn�t mine.

SCULLY: No. This is Michelle Charters. She�s a registered nurse at a convalescent home in Worchester, Massachusetts.

MULDER: What happened to her?

SCULLY: According to Miss Charters, she was raped. The abrasions and contusions here would be consistent with her claims as would be the medical report which cites the kind of injury and tearing associated with sexual trauma.

MULDER: Where did you get this? Violent Crimes?

SCULLY: No. The woman made the video herself. It seems that no one will believe her story.

MULDER: Why not?

SCULLY: Because she claims to have been raped by an invisible entity. A spirit being.

MULDER: I have several X-Files that document similar cases. (Goes to file cabinet and opens it)

SCULLY: I know. I�ve been here since 6:00 this morning going through them.

MULDER: Well, then you none of them have ever been substantiated.

SCULLY: Not surprisingly.

MULDER: Given the emotional and psychological violence of rape, the face or identity of the attacker is often blurred or erased from memory. That he could be perceived as invisible is a logical leap for me.

SCULLY: Yes. But this case is different.

MULDER: Why?

SCULLY: The victim has filed a lawsuit against the government. She seems to be certain who the spirit being is.

---

SCENE 3

(NURSE CHARTERS living room. MULDER and SCULLY interviewing NURSE CHARTERS who is still bruised.)

NURSE CHARTERS: Mr. Arden. Hal Arden.

SCULLY: And you know him �?

NURSE CHARTERS: He�s been a patient where I work for about five years.

MULDER: Miss Charters, the facts of your case seem to contravene those of other cases we have on file.

NURSE CHARTERS: (bitter) Right. You mean the other Woman-Raped-by-Invisible-Man cases?

MULDER: How do you know it was him who attacked you?

NURSE CHARTERS: He made advances toward me. And he said things � rude things. Look, when you bathe somebody every day for five years you get to know more about them than you really need to. And an old man smells a certain way and he feels a certain way.

SCULLY: I know this is hard for you.

NURSE CHARTERS: This is the easy part. You see, hard is not being able to get disability leave or workman�s comp and having to go back to work with this � guy.

SCULLY: To continue our investigation we�re going to need some kind of evidence � physical or �

NURSE CHARTERS: Yeah, I know. I�ve heard it. Unless you have hair or semen or fibers you guys can�t build a case.

MULDER: That�s right.

NURSE CHARTERS: Look, I didn�t make this up, okay? I was attacked. And I�m not some kind of shrinking violet who would repress the memory of a rapist�s face. If I could positively ID him or give you something to incriminate the man, I would.

---

SCENE 4

(Nursing home. Bathroom. MULDER and SCULLY watch as HAL gets out of the tub. GUNG wraps a towel around him.)

HAL: You�ve got to be kidding me. (chuckles) And what do I think about her claims? I should be in the Guinness Record Book. I�m 74 years old. I�ve got plumbing older than this building. Hmmm?

(HAL holds open towel exposing himself. SCULLY stares for a second, then turns away slightly. MULDER looks, and nods with a little grin.)

HAL: And it don�t work much better, either.

MULDER: Thank you for sharing. Are you aware you�re being named in a lawsuit against the federal government?

HAL: I am?

SCULLY: Did you ever threaten Miss Charters?

HAL: (doesn�t hear her) What?

SCULLY: (louder) Did you ever threaten Miss Charters?

HAL: Threaten? It was harmless, for crying out loud. Ever since this *sex harassment* fad, men can�t say what�s on their minds.

(MULDER gives SCULLY a look and smiles which she misses.)

SCULLY: She says you made advances.

HAL: (again, not hearing) Hmm?

SCULLY: (louder) Advances?

HAL: If I told you you were a very pretty woman and I would like to show you some affection, would you be offended? Huh?

(SCULLY doesn�t quite know how to answer. She and MULDER look at each other. HAL suddenly looks up at MULDER apologetically.)

HAL: Oh, I didn�t mean to step on your toes there.

MULDER: (looking quickly at HAL, surprised, then quickly) It�s all right. There seems to be some confusion here.

HAL: Yeah. I though Nurse What�s-Her-Name said she was rogered by a ghost. I may have one foot in the grave, but I certainly can�t fly down hallways spreading amour.

MULDER: (loudly) Apparently not.

HAL: (chuckling as GUNG leads him out of the bathroom) If that�s what it�s like � if that�s what it�s like in heaven, Lord, take me now. (GUNG and HAL exit.)

SCULLY: What do you think, Mulder?

MULDER: (grinning at her) About the guy�s plumbing?

SCULLY: About his story.

MULDER: I think this will turn out to be a huge waste of time just like all the other X-Files on entity rape. Unsubstantiated phenomena.

SCULLY: But in a substantiated crime.

(As they leave, STAN and UPSHAW enter for STAN�s bath.)

UPSHAW: Hey, pay attention. Or you can take another bath with your clothes on. At five and a half bucks an hour I don�t give a rat's ass either way.

---

SCENE 5

(Outside the home. MULDER and SCULLY walking with MS. DAWSON, tall, blonde, confident, impersonal director of the Excelsius Dei Home.)

MS. DAWSON: Ten years ago, Excelsius was a leading facility in care and treatment of the elderly. Then government funding was cut till we�re all but shut down. Only a few wings are operational now.

SCULLY: Is there still a medical staff?

MS. DAWSON: Not on site. Dr. Grego visits three times a week. Excelsius residents are very well looked after, though. We hold ourselves to a high standard of health maintenance and treatment.

SCULLY: What kind of treatment?

MS. DAWSON: We�ve always specialized in the care of the late-life degenerative diseases � Alzheimer�s, Parkinson�s.

MULDER: We met with a patient today.

MS. DAWSON: We prefer "resident," actually.

MULDER: We met a *resident* who was described to us as having Alzheimer�s but he actually seemed quite spry and alert.

MS. DAWSON: You�re speaking of Hal Arden, the man accused of assaulting Michelle Charters.

SCULLY: Was he receiving special treatment?

MS. DAWSON: You�d have to speak to Dr. Grago. Hal has been here almost eight years now. We�re all quite fond of him. We were extremely dismayed over this whole business with the lawsuit.

SCULLY: Are you saying you don�t believe Nurse Charters� allegations of rape?

MS. DAWSON: There�s something I�d like to show you.

(In STAN and HAL�s room. STAN at the window watches the agents and the director walking inside.)

STAN: What did you tell them?

HAL: I didn�t tell them anything.

STAN: Why are they still here?

HAL: I don�t know, Stan.

STAN: Now you got to be more careful.

HAL: I am careful.

STAN: You�re going to ruin it for all of us. They find out, it all goes for nothing.

HAL: I didn�t tell them anything.

STAN: I�m not going to die in this Godforsaken hole, you hear me?

HAL: Oh, bug off, Stan.

(STAN opens a drawer and takes a brown capsule.)

HAL: Where�d you get that?

STAN: I know where he keeps them.

HAL: Give me one, Stan. Huh? I want another one, too.

STAN: You can�t handle another one.

HAL: Oh yeah? Maybe I�ll just rat you out, then. Huh? How would you like that?

(Later. MULDER and SCULLY in DAWSON�s office. MS. DAWSON pulls out a file and gives it to SCULLY.)

SCULLY: This is Michelle Charters�?

MS. DAWSON: There are three separate insurance claims for accidents received on the job. In April, she went to the State Board and requested leave with full pay due to job-related emotional stress. The request was summarily rejected. There�s more �

SCULLY: I�d like to review it myself, if that�s okay?

MS. DAWSON: Certainly.

MULDER: Ms. Dawson, did you get a chance to see Michelle after the incident? To see the extent of her injuries?

MS. DAWSON: I wasn�t here the night it happened but I did see her the following day.

MULDER: Then you know how badly she was hurt.

MS. DAWSON: Yes.

MULDER: In your opinion, do you think she staged the attack?

(Knock at the door.)

TIERNAN: Excuse me, Ms. Dawson? We need help. Mr. Arden�s choking to death!

(MULDER, SCULLY, and MS. DAWSON follow TIERNAN.)

(In STAN and HAL�s room. HAL lies gasping on the bed. It looks like his throat is being constricted. STAN stands beside him)

STAN: See? See what happened? I told you you couldn�t handle any more.

(MULDER, SCULLY and the others rush into the room)

SCULLY: Call 911. Hal. Can you speak? (no response) I think this man�s in ventricular fibrillation. I need 75 milligrams of Lidocaine and one amp of Amphinephrine. Stat.

TIERNAN: Yeah.

SCULLY: And get me a defibrillator!

TIERNAN: (running out of the room) Okay.

SCULLY: He�s turning cyanotic. Come on, Hal. You gotta help me.

MULDER: Come on, Hal.

MS. DAWSON: One, two, three, four, five.

UPSHAW: The ambulance is on the way!

SCULLY: I�m losing him. What�s taking them so long?

MS. DAWSON: He�s not responding! Still no pulse. Where�s that crash cart!

---

SCENE 6

(BODY is wheeled out of the nursing home to an ambulance. DOCTOR GREGO, late 40�s, watches with MULDER and SCULLY.)

DOCTOR GREGO: Hal Arden�s been my patient since he came here eight years ago. This really is a setback.

SCULLY: A setback?

DOCTOR GREGO: Hal was part of a group of Alzheimer�s patients I�ve been treating for 11 months.

SCULLY: But Alzheimer�s isn�t treatable.

DOCTOR GREGO: It�s an experimental drug called Depranil � an enzyme inhibitor that increases the amount of acetylcholine in the brain.

SCULLY: I�ve read about it, but I�ve also read that the clinical benefits are marginal at best.

DOCTOR GREGO: Yes, but these patients seem to be proving otherwise. They�ve demonstrated cognitive abilities well beyond anything that�s been reported.

MULDER: So he was actually getting better?

DOCTOR GREGO: Before he started receiving the drug he could hardly complete a sentence.

(MULDER and SCULLY look at each other.)

DOCTOR GREGO: (slightly embarrassed) Look, there�s not much to get excited about in my work. Most of these people are on the downhill slide. If I can make them comfortable, maybe prolong a life, that�s about all they expect. But to reverse an illness.

SCULLY: Would it be possible for us to take a look at other patients in your test group?

DOCTOR GREGO: Sure, if you want to.

SCULLY: Yeah.

(Ambulance drives away. MULDER watches NURSE CHARTERS watch it go.)

(STAN watches from the window, then turns to take another dose of the brown pills. GUNG enters the room and catches him.)

GUNG: Where did you get that?

STAN: It was Hal�s. Since he�s not here anymore, why can�t I have it?

GUNG: Because you have enough. What I give you is enough. It�s our secret.

(STAN takes the pills. GUNG disapproves.)

STAN: Oh, come on, Gung. It�s making me better.

GUNG: (adamant) Too much is very bad Very bad. No more for you.

---

SCENE 7

(Day room at the nursing home. MULDER and SCULLY and DOCTOR GREGO watch the residents, all very active. DOROTHY, eighty-something, moves around the room in her wheelchair directing imaginary people into position for LEO, at a table with paper and pen, to draw a picture. No one pays attention to DOROTHY, but she doesn�t seem to notice.)

DOROTHY: I want you to stand behind Ben, Eddie, because Ben�s taller, and I want � (continues)

DOCTOR GREGO: (quietly pointing to LEO) That man there --- that�s Leo Kreutzer. During the Depression he was a WPA artist. Quite a good one too, I�m told.

DOROTHY: �Hello, Mabel, don�t you look lovely. �.

MULDER: (quietly) Is he receiving the same treatments as Hal Arden?

DOCTOR GREGO: Yes. When he came to us he couldn�t draw a circle. Now, you can see for yourself.

(LEO rapidly draws as DOROTHY keeps positioning imaginary people.)

DOROTHY: �Because you�re taller I want you to stand behind Ben.

DOCTOR GREGO: You�ll have to excuse me, I�m already well behind on rounds.

SCULLY: Can I get a copy of Hal Arden�s autopsy results?

DOCTOR GREGO: Of course.

SCULLY: Thank you.

(MULDER has crossed over to LEO.)

MULDER: May I sit down, Leo? (no response)

SCULLY: Leo, we�re with the FBI. We have some questions that we�d like to ask you.

DOROTHY: (to MULDER and SCULLY) Leo�s a brilliant artist, you know. Don�t be so modest, Leo. President Kennedy has one of his paintings in the White House.

(LEO sighs.)

SCULLY: Dr. Grago tells us that you haven�t been able to work in years. That the medicine has improved �

LEO: (interrupting gruffly) It ain�t the medication.

SCULLY: What is it then?

UPSHAW: Okay, Rembrandt. 6:00. Dinner time.

TIERNAN: (grabbing DOROTHY�s wheelchair) Come on, Dorothy. Legs up and straight ahead. Don�t want you getting a flat tire.

DOROTHY: Wait, Leo�s not finished with us.

TIERNAN: Leo can finish with you later.

DOROTHY: He still has to draw the rest.

TIERNAN: (wheeling her out) He�ll do it later, honey.

UPSHAW: (taking pen from LEO) Come on, Leo. Don�t make me embarrass you in front of your friends.

(The orderlies take the residents out of the room.)

MULDER: (disgusted) Come on, Scully. Let�s get out of here.

(SCULLY looks at the Picassoesque picture that LEO was drawing.)

---

SCENE 8
HOTEL HARTLEY
WORCESTER, MASS
6:53 PM

(Later, MULDER and SCULLY enter hotel lobby.)

SCULLY: �.to find not just the treatment but a cure for Alzheimer�s. Do you realize how important that would be?

MULDER: (bitter) If it would keep anybody out of a place like that it would be important enough. I wouldn�t say those people were exactly cured.

SCULLY: Any progress at all �

MULDER: Well, I hope someone�s making some progress �cause we�re going home with a big goose egg. (to hotel clerk) Checking out of room 206 and 210, please.

CLERK: (taking their keys) Certainly, sir. (to other clerk) Angelo?

SCULLY: What if there�s a connection?

MULDER: Between the rape case and the Alzheimer�s? (very close to her, quietly) When they�re not drawing childlike pictures they�re brutal sex offenders?

SCULLY: Dr. Grago�s therapy produces acetylcholine. Too much cholinergic activity causes a phychotic state similar to schizophrenia.

MULDER: You think that Michelle Charters was raped by an 74-year-old schizophrenic?

SCULLY: It�s possible.

MULDER: An *invisible* 74-year-old schizophrenic?

SCULLY: Well, maybe it�s not in the medication. Maybe it�s the place itself.

MULDER: Are you saying that the building�s haunted? (smiles and laughs, quietly) If you are, you�ve been working with me for too long, Scully.

SCULLY: I�m talking about an environmental reason behind what�s happening there. Even the disinfectant couldn�t mask that smell. Who knows what�s breeding behind the walls or in the sub-structure. Some fungal contaminants have been known to cause delusions, dementia, violent behaviour�

MULDER: Why wouldn�t it have affected the other residents?

SCULLY: Maybe it has.

MULDER: I-I think you�re looking too hard, Scully, for something that�s not there. I think Michelle Charters concocted this story to get out of a job she hates.

SCULLY: Her lip required 13 stitches. The blow to her head resulted in a subdural hematoma. That�s quite a concoction. Look, I just want to talk to a few more patients there. We can catch the same flight out tomorrow night.

(MULDER looks at her and considers.)

---

SCENE 9

(Nursing home. DOROTHY�s room. TIERNAN is feeding her. She doesn�t want to eat.)

TIERNAN: This is gourmet fare. Be a good girl and open wide.

DOROTHY: No. Please don�t. Please, don�t.

TIERNAN: Open wide. Open up, honey.

DOROTHY: Please don�t. I don�t want �

(He pushes the food in her mouth, she spits it back out.)

TIERNAN: That�s fine, Dorothy. Starve to death. See if I care. (he leaves the room)

(LEO�s room. GUNG is with LEO. LEO stares at his food tray.)

GUNG: Why aren�t you eating your food, Leo? What�s the matter?

LEO: It�s Dorothy. She needs more. We both do.

GUNG: What you have is enough.

LEO: It�s not working for us. Not like it works for the others. We need more.

GUNG: No. No. Now eat your food, please. I�ll come back and pick up your tray.

(GUNG leaves. DOROTHY wheels into LEO�s room. They look at each other.)

LEO: It�s okay, Dorothy. Don�t worry. I think Stan had some more hidden away somewhere. It will be all right.

(STAN�s room. His DAUGHTER is with him. She looks tired, as if she has been arguing with him for a while.)

STAN�S DAUGHTER: Why are you being so stubborn?

STAN: I�m not. I happen to like it here.

STAN�S DAUGHTER: A year ago you were begging to live with us.

STAN: Well, things change.

STAN�S DAUGHTER: Look Dad, I am sorry about what happened to Mr. Arlen.

STAN: His name was Arden.

TIERNAN: I�m finished packing your things, Mr. Phillips. I�m going to make sure you didn�t forget anything. (to STAN�s DAUGHTER) Don�t you worry, Mrs. Kelly. Just pull your car around out front. I�ll make sure he gets down okay.

STAN�S DAUGHTER: Thank you.

TIERNAN: He�s going to be fine. (closes door)

(MULDER and SCULLY come down the hall to STAN�s room.)

STAN�S DAUGHTER: Can I help you?

SCULLY: Yes. We�d like to have a word with Mr. Phillips.

STAN�S DAUGHTER: I�m his daughter. What is this about?

SCULLY: We�re with the FBI. We have a few questions concerning his medical treatment. (shows badge)

STAN�S DAUGHTER: He�s in there packing right now. I�m about to take him home. Is there anything I can help you with?

(Later, night, MULDER and SCULLY accompany STAN�s DAUGHTER down the outside stairs.)

STAN�S DAUGHTER: My little girls won�t even visit their grandfather. They�re afraid to even come here.

SCULLY: It�s hard for anyone to be here, including the residents.

STAN�S DAUGHTER: That�s why Jack and I decided that no matter what time he�s got left we want him to spend it with us.

SCULLY: How many years has he been here?

STAN�S DAUGHTER: Almost three. But we didn�t have any choice. Jack and I both work. The doctor said he needed 24 hour nursing assistance.

MULDER: He doesn�t seem to need much assistance now. Has his improvement been that pronounced?

STAN�S DAUGHTER: I thought I was bringing him here to die. They told me he�d only get worse. The physical deterioration, the dementia. And now it�s like he�s a different person.

MULDER: Do you have any idea why?

STAN�S DAUGHTER: I suppose it has something to do with Dr. Grago�s treatment. Dad won�t talk to me about it. He�s just too angry. He was angry when I first brought him here in the first place. Now he�s angry that I want to take him home. I don�t know that he�s ever going to forgive me.

(STAN�s room. The orderly, TIERNAN, is packing STAN�s bag, his back to the door.)

TIERNAN: You know, I�d like to say I�m going to miss you, Stan, but the truth is, you are a royal pain in the butt.

(TIERNAN sees movement as STAN darts out of the room.)

TIERNAN: Hey, where you going? Don�t make me chase you, old man.

(TIERNAN runs upstairs to top floor after STAN. We don�t see STAN at all, just flurries of movement.)

TIERNAN: (out of breath) Hey! What are you? A track star all of a sudden? (he enters dark room and goes to open window and sees movement on the roof at the next window) Okay, stop messing around, Stan. You crawl back in that window right now. You crawl back in there. (He climbs on to the sill.) Don�t think I�m coming over there to get you. I�d just as soon let you fall and break your neck. Did you hear me Stan? You hear me?

(Suddenly, there is movement behind him and he is pushed out of the window. He manages to grab the sill with his fingers.)

TIERNAN: Help! Help me! Somebody help me! I�m gonna fall!

(MULDER runs back inside and up to the top floor.)

TIERNAN: Help!

(As TIERNAN dangles, one by one his fingers are lifted. MULDER reaches the window and holds out his hand to TIERNAN.)

MULDER: Give me your hand. Come on.

TIERNAN: (trying, but can�t lift his hand to MULDER�s, as if he is being pushed away) I can�t.

MULDER: Grab it.

(TIERNAN screams as he loses his grip on the sill and falls four stories to the ground below. Unable to help, MULDER watches in shock.)

(SCULLY checks for a pulse on TIERNAN, and looks up to MULDER.)

STAN�S DAUGHTER: Oh, my God.

---

SCENE 10

(Next morning. MULDER is with STAN in STAN�s room. GUNG changes the sheets. DOCTOR GREGO enters, out of breath.)

DOCTOR GREGO: They paged me this morning. I got a message an orderly fell out a fourth floor window?

MULDER: Apparently. Either that or he was pushed.

DOCTOR GREGO: Was Stan involved?

MULDER: That�s what we�re trying to determine. Stan was with him just prior to the accident.

DOCTOR GREGO: You�re not suggesting he could have done it.

MULDER: There have been two deaths here in the past 24 hours. Stan�s been present before both of them.

DOCTOR GREGO: No, no. That�s impossible. Stan Phillips has a degenerative hip disease. There�s no way, he couldn�t get up to the fourth floor on his own.

MULDER: What about an elevator?

DOCTOR GREGO: The elevators in this place haven�t worked for years.

MULDER: Maybe he was helped.

DOCTOR GREGO: Helped? By whom?

MULDER: I don�t know. The postmortem on Hal Arden � did you get it yet?

DOCTOR GREGO: No, not yet, but they promise they�ll fax it today.

MULDER: Can we check and see if it�s come in yet?

DOCTOR GREGO: Sure. Just what do you expect to find?

MULDER: (looks at STAN) I�m not sure, exactly.

(They exit. STAN watches them leave, then looks at GUNG.)

(In another room, SCULLY sits with STAN�s DAUGHTER.)

STAN�S DAUGHTER: Why are they questioning him?

SCULLY: It�s routine procedure.

STAN�S DAUGHTER: Are they going to want to keep him here?

SCULLY: You�ll have to ask Dr. Grago.

STAN�S DAUGHTER: I � God. If my mother was alive �

(They hear NURSE CHARTERS arguing with MS. DAWSON.)

NURSE CHARTERS: How can I handle the whole floor by myself?

MS. DAWSON: I don�t know, Michelle. I have other things to deal with.

NURSE CHARTERS: Yes, well, so do I. I would just like some help, please.

MS. DAWSON: You�re the only one on?

NURSE CHARTERS: Yes. Upshaw never showed up for work last night. Nobody�s listening to me around here. I said there was something going on and I told you it had to do with Mr. Arden and Mr. Phillips. Forget it. (leaves)

MS. DAWSON: (to SCULLY) Can you please explain to me what�s going on around here?

(DOROTHY is sitting in the hall nearby talking to her empty room.)

DOROTHY: Shoo! Shoo! Go away! Go away! Leave me alone. Go back! Don�t come any closer!

MS. DAWSON: Go back in your room, Dorothy. If you need something, I�ll send an orderly to see you.

DOROTHY: No, they�re in there.

MS. DAWSON: Who?

DOROTHY: All of them.

SCULLY: (looking in the empty room) There�s nobody in your room, Dorothy.

DOROTHY: Here they come. You�ll see. All right, now you be nice. I don�t want any more of your dirty tricks.

SCULLY: Is she going to be all right?

(MS. DAWSON tries to push DOROTHY�s wheelchair into the room, but DOROTHY braces her hands on either side of the open door.)

DOROTHY: No! No, no, no, I don�t want to go back in there! No! No! I don�t want to go back in there! Oh, no, no, no �

MS. DAWSON: (giving up) It�s senile dementia. This is just an episode.

(DOROTHY�S POV ON SCULLY: SCULLY is surrounded by shadowy figures reaching out to touch her. SCULLY stands staring at DOROTHY.)

DOROTHY: You leave her be. Don�t you touch her. Now shoo! Go away, go away! Don�t you get any ideas, mister.

SCULLY: (uncomfortable, passing DOROTHY, heading down the hall) Excuse me.

DOROTHY: Now don�t you follow her.

(From DOROTHY�s POV, we see the shadowy figures following SCULLY, hovering around her as she walks down the hall.)

(MULDER with DOCTOR GREGO who is looking at a file.)

DOCTOR GREGO: This is it.

MULDER: Is the toxicology there?

DOCTOR GREGO: Yes. There�s something here that shouldn�t be here.

MULDER: What�s that?

DOCTOR GREGO: Ibotenic acid. How did that get in his blood?

MULDER: What�s ibotenic acid?

DOCTOR GREGO: If I�m not mistaken, it�s a kind of poison.

(SCULLY enters, quickly.)

SCULLY: Mulder �

MULDER: Scully, Hal Arden had ibotenic acid in his blood. Somebody poisoned him.

SCULLY: (looking at the chart) Well, not necessarily. This is only a trace amount but small amounts are known to cause hallucinations which is what one of your patients is having right now down the hall.

DOCTOR GREGO: Where did they get it?

(NURSE CHARTERS knocks and enters in a hurry.)

NURSE CHARTERS: Excuse me. You�ve got to come quickly.

(They follow NURSE CHARTERS into the day room.)

SCULLY: Oh, my God.

(One wall is completely covered with beautiful, intricate, but very disturbing, scary paintings. Oblivious to the others in the room, LEO continues painting frantically.)

MULDER: It�s fantastic.

DOCTOR GREGO: What�s going on here?

SCULLY: Leo?

(LEO looks at her, then back to the painting.)

SCULLY: It�s incredible �

MULDER: You�ve got an Asian orderly working here. What�s his name?

DOCTOR GREGO: Uh, Gung, I think.

MULDER: Do you know where he is?

DOCTOR GREGO: Somewhere down in the basement.

(MULDER goes into the basement alone, looks around. He finds a padlocked door. He uses a metal bar [chair leg?] to bash open the lock. He enters the dark, damp, room, shines flashlight, and finds lots of mushrooms growing in dirt. Digging through the dirt, he sees the hand, then uncovers the body of UPSHAW, the missing orderly, dead.)

MULDER: Upshaw.

---

SCENE 11

(MS. DAWSON�s office. MULDER, SCULLY, DAWSON, and DOCTOR GREGO are questioning GUNG.)

GUNG: I didn�t kill him.

MULDER: But it�s your mushroom crop, isn�t it?

GUNG: Yes.

MULDER: Who else would have buried him there?

SCULLY: Why were you growing them?

GUNG: For medicinal purposes.

SCULLY: Were you feeding them to the residents here?

GUNG: Yes, but only in small amounts.

MULDER: Why?

GUNG: Because it makes them feel better.

MULDER: Makes them feel better, or it kills them?

GUNG: No.

DOCTOR GREGO: Exactly what kind of mushrooms are they?

GUNG: It�s from my prefecture in my country. They�ve been used for centuries.

SCULLY: For what purpose?

GUNG: In my country, our customs are different.

MS. DAWSON: You�re not in your country now. You�re hired here to care for these people under our guidelines.

GUNG: Where I come from, many generations live under one roof. As children, our grandparents live with us. We feel a duty to take care of them. (MULDER and SCULLY share a look.) It isn�t like that in this country. We respect our old people as we respect our ancestors. We don�t send them away to die like Stan and Hal.

DOCTOR GREGO: These people are given excellent medical care.

GUNG: But they�re not treated with respect. Hal�s family never came to visit him once and the orderlies � treat the residents worse than dogs.

MS. DAWSON: No one is mistreated here.

GUNG: You�re not here to see.

MULDER: All right, Gung, who killed the orderly? Who buried him in that room?

GUNG: Something has gone very wrong. The mushrooms we take to speak with the dead, to see our ancestors in the spirit world. But � the spirit in this place is very angry and the souls that died here continue to suffer. And now they � have been awakened.

SCULLY: Are you saying that a spirit killed this man, Upshaw?

GUNG: Yes. They�ve taken revenge for their mistreatment.

MULDER: How are the mushrooms taken?

GUNG: Dried, mixed with many herbs, made into powder.

MULDER: Well, I think the first thing we should do is make sure nobody else takes them. (to DOCTOR GREGO) You, check on the other patients. Gung, come with me. Let�s go.

(MULDER, SCULLY, and GUNG go down to the basement room. GUNG pauses for a moment at the door, and looks around suspiciously. Then they enter and GUNG goes to a cabinet and removes a jar with just a couple of pills at the bottom.)

GUNG: Someone�s taken them all.

(MULDER pulls SCULLY to the side to speak privately.)

MULDER: I think you�re right, Scully.

SCULLY: About?

MULDER: What�s been happening is the result of the medication, but not the medication the Doctor�s been giving them.

SCULLY: Mulder, mushrooms aren�t medication. They taste good on hamburgers, but they don�t raise the dead.

MULDER: Shamans have used them for centuries to gain entrance to the spirit world.

SCULLY: I think you�ve been reading too much Carlos Castenada.

MULDER: Ask any anthropologist then.

SCULLY: I know --- a shaman gets intoxicated, he has dreams or hallucinations, and he interprets them. I don�t think it�s any more magical than that.

MULDER: I don�t know how else to explain what�s happening here.

SCULLY: Well, I think, if anything, these mushrooms are a poison to the system and I think that�s what killed Hal Arden.

MULDER: And raped Michelle Charters and killed those two orderlies? Something�s been unleashed here, Scully. I don�t know how to explain it, but it has something to do with those pills.

---

SCENE 12

(STAN in his room drops a handful of pills and frantically pushes them into his mouth. His DAUGHTER enters.)

STAN�S DAUGHTER: Daddy? Daddy, what are you taking? What are you putting in your mouth?

DOROTHY: (in hall, waving her arms) Go away! You go away! Go away! You leave me � leave us alone! Go on! You � run. (to STAN�s DAUGHTER) Run while you can. Go on, run. Run. Go away. (sees the shadowy figures approaching) Go away! Go on. You leave us alone. Go on.

LEO: (voice) Dorothy! I need your help!

DOROTHY: Leo �. you leave me alone. You leave him alone! Leo! Leo! Leo � go on. Go on. You leave him �. you leave �..

(DOROTHY wheels herself to LEO�s door. LEO is collapsed on floor. She sees figures over him. STAN�s DAUGHTER joins her at LEO�s door.)

DORORTHY: Oh � oh, no. Stop. Stop that.

(Both of them see LEO�s body pulled into the shadows and the door slam. They hear NURSE CHARTERS scream.)

(Downstairs, MULDER and SCULLY hear NURSE CHARTERS scream. MULDER runs upstairs and into the bathroom and sees NURSE CHARTERS trying to stand up.)

NURSE CHARTERS: Help me, please.

(NURSE CHARTERS screams as she is flung against the wall. MULDER turns to see SCULLY just getting to the bathroom door. Door to the bathroom slams shut, and every water faucet and valve in the bathroom begins shooting out water. Fighting against the water, MULDER hears SCULLY outside the door.)

SCULLY: (trying to open the door which has just slammed in her face) Mulder! What�s going on!? Mulder!? Mulder!

MULDER: (yelling through the locked door) Scully! Turn off the water main! Turn off the water main!

(SCULLY sees water coming out the bottom of the door.)

SCULLY: They�re trapped in the bathroom and it�s filling with water.

MS. DAWSON: What?

SCULLY: Where�s the main water shutoff?

MS. DAWSON: I don�t know.

SCULLY: Gung will know. (begins running off to find GUNG) Keep trying the door.

(Bathroom is now almost knee deep. MULDER begins pulling a dizzy NURSE CHARTERS to her feet.)

MULDER: You�ve got to get up. Come on. You got to get up.

(In the basement, SCULLY and GUNG try to turn off the water main.)

GUNG: It�s stuck.

SCULLY: See if you can find something to force it with.

GUNG: Okay.

(Bathroom is now about five feet deep. MULDER swims down and tries to uncover the drain. It doesn�t work. He surfaces again next to NURSE CHARTERS who is holding on to a pipe.)

MULDER: I can�t open the drains.

(STAN�s room. STAN is lying on bed having a seizure. STAN�s DAUGHTER catches SCULLY in the hall.)

STAN�S DAUGHTER: Please! Please, my father needs help. My father took something. I�m afraid he�s dying.

SCULLY: You stay with him. I�ll get help. (runs down hall to the bathroom door) Dr. Grago! Dr. Grago.

DOCTOR GREGO: It�s sealed tight.

SCULLY: Do you have any atropine in your kit here?

DOCTOR GREGO: Uh, I might. Yes, I think so.

SCULLY: Stan Phillips has gone into convulsions. I think he might have poisoned himself.

(DOCTOR GREGO runs down the hall.)

(In the bathroom, water level is only a few inches from the ceiling. MULDER and NURSE CHARTERS hold onto a pipe just barely keeping their noses above water.)

MULDER: Just hold on. It�s all right.

(In STAN�s room, DOCTOR GREGO gives STAN an injection. His body tenses as shadowy figures fade.)

(In hall, SCULLY stares at the bathroom door which now has water flowing over the top. Suddenly, the door gives way, and the wall of water knocks SCULLY and MS. DAWSON down, then MULDER and NURSE CHARTERS come pouring out and a few feet down the hall. )

(STAN, in his room, catches his breath and begins to relax, the seizure fading.)

DOROTHY: (in hallway) They�re gone. They�re all gone. They�re gone. They�re all gone.

(MULDER, coughing, stands up, holding NURSE CHARTERS in the hip deep water in the hall.)

SCULLY: You okay, Mulder?

MULDER: Yeah. Fine.

---

SCENE 13

(SCULLY voiceover. Nursing home, night, then some time later.)

SCULLY: (voiceover) In response to the series of unexplained incidents at the Excelsius Dei convalescent home, the Massachusetts Department of Public Health has assumed all administrative authority at the facility. They detected trace amounts of ibotenic acid in more than half the residents tested. Though these levels have dissipated rapidly.

(Day room. In front of the incredible mural, LEO draws a crude picture of a sailboat.)

SCULLY: (voiceover, cont.) Dr. John Grago has been replaced as head physician at the facility and his trial use of the drug Depranil has been suspended. For his admitted part in manufacturing and distributing an illicit substance, Gung Bittouin was remanded to the Immigration and Naturalization Service and is awaiting repatriation to Malaysia. There are reportedly no efforts being made to study the mushrooms.

(DOROTHY is wheeled in and a magazine placed in front of her. No response.)

SCULLY: (voiceover, cont.) The federal government has settled Michelle Charters� lawsuit out of court though no clear blame has been placed. Witnesses to the events have been unreliable due to dramatic relapses and a general reversal in their progress with Alzheimer�s disease.

(STAN�s DAUGHTER sits with STAN in the day room. He is completely nonresponsive.)

STAN�S DAUGHTER: I�m going to go now, Daddy. I�ll see you again soon. Maybe next week.

(STAN stares into space.)

[THE END]

"Red Museum" - Episode 2x10 (videos,guide,stills,transcript)

Videos
"Red Museum" - Trailer

Episode guide
(Source: http://xfiles.wearehere.net/episodes/2x10.htm )

2X10 Red Museum

Mulder and Scully are called in to investigate by a local sheriff after a number of Wisconsin teenagers are found walking in the woods in their underwear, drugged and with the phrase 'He is one' or 'She is one' written on their bodies. Sheriff Mazeroski believes a local religious cult called the Church of the Red Museum is responsible. They came to the area three years before and bought a ranch, being vegitarian they turned the cattle in to pets, which caused a lot of resentment with local cattle ranchers. But after going to see them Mulder informs Scully they are 'walkins', who believe in soul transference, that enlightened souls take over other peoples bodies. Mulder doubts their complicity, however he notices their presence causes a lot of tension in the local community. An old man shows Mulder and Scully cattle being injected with a genetically modified growth hormone, which he claims has made the local people very aggressive. The case takes a dramatic turn when the local doctor is killed in a light aircraft accident. His briefcase contains thousands of dollars, details of local families and a phial of liquid. Later identified as similar to the substance found in The Erlenmeyer Flask. It would appear that Dr Larson was injected local children with the contents of the phial. And that the attacks on the teenagers was an attempt by a local paedophile to draw attention to these experiments. But they have to move fast as the evidence begins to disappear and witnesses start to die.

Noteworthy Quote

Scully: "The man who died in that plane crash, was inoculating those kids with antibodies derived from what may have been an extraterrestrial source."

Mulder: "He's been injecting those kids with alien DNA!"

Credits

Writer:	Chris Carter
Director:	Win Phelps

Cast:

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

Guest Cast:

Gillian Barber	Beth Kane
Steve Eastin	Sherrif Mazeroski
Lindsey Ginter	Crew-Cut Man
Mark Rolston	Richard Odin
Paul Sand	Gerd Thomas
Bob Frazer	Gary Kane
Robert Clothier	Old Man
Elisabeth Rosen	Katie
Crystal Verge	Woman Reading Words
Cameron Labine	Rick
Tony Sampson	Brad
Gerry Naim	1st Man
Brian Mcgugan	1st Officer

Episode Stills



Transcript "Red Museum" 2x10
(Source: http://www.insidethex.co.uk/transcrp/scrp210.htm )

---

SCENE 1
J.A.S.D. BEEF; DELTA GLEN, WI

(Cattle file into their pen as workers cross-cut and package meat in the plant. Two horns go off. A man starts walking out.)

MAN: 7:30. See you tomorrow, Beth.

BETH KANE: Okay. See you tomorrow.

---

SCENE 2
BETH KANE'S HOUSE

(Beth's son Gary lays on the couch, watching a TV show. On the TV, police stand on a porch as two black men are led out, both with their faces scrambled out. Her younger son, Stevie, sits on the floor in front of the TV. Beth walks in.)

MAN ON TV: Got information on a crackhouse... this is some pretty direct information... came from an informant who made the buy.

BETH KANE: I'm home!

(She looks at her younger son. On the TV, the police shout to each other as they surround a house.)

STEVIE KANE: Hi, Mom.

(She rubs his head.)

GARY KANE: Hey.

BETH KANE: "Hey?" All I get is "hey?"

GARY KANE: Hey, Mom.

(She smiles and walks into the bathroom.)

BETH KANE: I'm going to take a quick shower. You guys interested in getting a pizza delivered?

(Gary grunts. Beth laughs.)

If that was a "yes," you can call the order in and no pepperoni for me.

(She closes the door, sighs and starts to take her shirt off. From behind the mirror, a man wearing glasses watches through a peephole, breathing heavily. In the main room, the phone rings and Gary picks it up.)

GARY KANE: Hello? Oh, yeah. Sure.

(He hangs up and grabs his brother's nose with two fingers.)

STEVIE KANE: Ow!

GARY KANE: Tell Mom I'll be back in five minutes, okay, buttcrumb?

(Stevie nods and rubs his nose. Later. The time is 11:55. Beth is on the phone. Stevie lays his head on her lap.)

BETH KANE: He said he was only going to be gone five minutes and that was over four hours ago. Yes? No, I don't know who called him. The last person to see him? His younger brother.

---

---

SCENE 3
DELTA GLEN, WI

(Morning. Gary runs through the forest in his underwear, whimpering and cowering behind trees. Two sheriffs are driving down the road when one sees Gary runs out into the street.)

SHERIFF #1: Whoa whoa whoa!

(They stop and get out, walking towards him.)

SHERIFF #2: Gary? Gary Kane?

(Gary can do nothing but whimper.)

Go get him a blanket.

(The other sheriff goes to get him one. The first grabs hold of Gary gently by the shoulders.)

It's going to be okay, son. Hey, we're here to help you!

(Gary breaks free and starts to walk away, his feet shuffling. As he turns around, the sheriff sees three words written on his back. "He is One.")

Oh my God.

---

SCENE 4
X-FILES OFFICE; FBI HEADQUARTERS; WASHINGTON, D.C.

(Mulder shows Scully a slide of Gary's back with the words clearly written on it.)

MULDER: Gary Kane, 16 years old, High School Junior. "C" student, first-string varsity football, member of the local 4-H club. Not one of Wisconsin's more remarkable kids but still the apple of his mother's eye.

SCULLY: What does that mean?

MULDER: Nobody knows.

SCULLY: What does the police report say?

(Scully walks over to Mulder and sits on the desk next to him as he shows her the file.)

MULDER: The victim received a phone call and left his home. He was discovered in the woods in his underwear twelve hours later. He's been unable to give a coherent statement.

SCULLY: Any evidence of sexual assault?

MULDER: No.

SCULLY: Does it seem like it might have been a schoolboy prank?

MULDER: The other victims have had to be sedated and hospitalized since their ordeals.
They were reportedly hysterical with fear.

(He stands up.)

SCULLY: Victims? You mean there've been others?

(Mulder nods and switches the slide to another person with the same writing.)

MULDER: One in eastern Wisconsin, one three towns away.

(He flips to another slide, then another.)

Both with the same black words written in black magic marker.

SCULLY: What's your interest in this?

MULDER: The local sheriff in Delta Glen, Wisconsin thinks he knows what's been happening to these kids.

SCULLY: What's that?

MULDER: He thinks they've been possessed.

---

SCENE 5
DELTA GLEN, WISCONSIN

(Mulder, Scully and Sheriff Mazeroski drive down a road in the sheriff's car. Mulder is in the back seat.)

MAZEROSKI: There's something I think you ought to see first. They call themselves the Church of the Red Museum. They're followers of a guy named Odin that moved out here from California three years ago and bought a ranch.

SCULLY: What's the significance of the name "Red Museum?"

MAZEROSKI: Well, Odin and the rest of them are a bunch of vegetarians. They drove the ranch right into the ground, turned 500 head of beef cattle into pets. Calls it a monument to barbarism.

MULDER: Probably went over big with the local ranchers.

(Mazeroski laughs.)

MAZEROSKI: Well, you gotta admit, it takes some big ones to set down in the middle of cow country and start a church like his.

---

SCENE 6
CHURCH OF THE RED MUSEUM; DELTA GLEN, WISCONSIN

(They pull up to the church as three worshippers walk by and towards a barn. They are dressed in white except for a red turban. Mulder, Scully and Mazeroski get out of the car and watch them. Mulder takes out an umbrella and holds it over his and Scully's head.)

MAZEROSKI: Kinda stick out like a sore thumb, don't they?

SCULLY: You know sheriff, from what little we've seen, what, what little you've told us, they seem rather unlikely to be involved in the kind of activities that you described.

MAZEROSKI: Well, I, I won't say another word. You can just see for yourself.

(They walk into the barn and stand in the back. In front of them is a whole congregation of fifty or so people, with a giant viewscreen in the front of the room. A man gets up onto the platform in front, puts his hand together and bows lightly.)

CONGREGATION: Ommm...

MAZEROSKI: That's Odin.

(Odin sits down at a computer and starts typing rapidly. A woman in back of him reads off the screen into a microphone as the words come up on the screen in back of her.)

WOMAN: Today is a blessing from our lord and master, who awaits his flock in this time, the dawning of the Age of Aquarius. Eighteen earth years from the beginning of the new kingdom. The guides speak through me today as messengers of word that we may be free from death and the passage into spirit. As the acceleration continues, we, the enlightened, must bring our teachings of the skills for survival to mankind. Repeat in prayer...

MULDER: They're walk-ins.

SCULLY: What are walk-ins?

WOMAN: We, the second souls of the first bodies...

CONGREGATION: We, the second souls of the first bodies...

WOMAN: Bearers of the word and keepers of the sacraments of a new enlightenment...

MULDER: They're believers in soul transference, enlightened spirits who have taken possession of other peoples bodies.

CONGREGATION: Bearers of the word and keepers of the sacraments of a new enlightenment...

WOMAN: Blessed mission and toil.

CONGREGATION: Blessed mission and toil.

WOMAN: Our struggle is transcendent, and your guidance, our guides...

CONGREGATION: Our struggle is transcendent, and your guidance, our guides...

(Odin finishes typing and looks to the back of the room at the three visitors.)

WOMAN: ...will carry us toward the dawning of a new age.

CONGREGATION: ...will carry us toward the dawning of a new age.

(Odin starts typing again.)

WOMAN: Today, we bear witness to three who do not believe.

(The congregation, one by one, slowly turn and look back at the agents.)

We encourage them to open their hearts and minds to our teachings that they who slaughter the flesh slaughter their own souls and must be taught the way.

(Mulder looks at Mazeroski.)

---

SCENE 7
BETH KANE'S HOUSE

(Gary and Beth are sitting down. Mazeroski is as well, but Mulder and Scully are standing.)

GARY KANE: I only remember parts of it.

MULDER: Which parts are those?

GARY KANE: I was in the woods and... I felt... a spirit enter me.

(Mulder walks over and sits down next to him.)

MULDER: When you say spirit, Gary, I'm not sure what you mean.

GARY KANE: It... it might have been an animal spirit. I can't explain it. Something... just came over me.

MULDER: And you don't remember who called you?

(Gary shakes his head no. Scully, standing in the doorway, looks back down the hallway.)

Anything at all about what happened immediately after you left home that night?

(Scully walks down the hallway, looking at various pictures.)

Have you ever had any dealings with anyone from the Church of the Red Museum?

GARY KANE: I've seen them around.

MULDER: Do you have any reason to believe that they may be involved with what happened to you?

(The pictures are of Beth, Gary, Stevie and the whole family.)

MAZEROSKI: Now tell him what you told me, Gary.

(Gary talks in the background. Stevie walks up to Scully.)

SCULLY: Hi.

STEVIE KANE: Hi.

SCULLY: Who are you?

STEVIE KANE: Stevie.

SCULLY: Oh, you're in all the pictures. You must be Gary's younger brother.

(Stevie nods.)

I'm Dana. Stevie... do you remember who your brother might have gone out to see the other night?

(Stevie shakes his head "no.")

Did he say anything?

(Through the peephole in the bathroom mirror, the man watches Scully. Scully hears footsteps in that direction and looks towards the mirror, but does not see anything. The man is gone from behind it. Mulder walks up to Scully.)

MULDER: Scully, we'll meet you outside.

(He and Mazeroski leave. Scully turns back to Stevie.)

SCULLY: Well, thank you for your time.

(Mulder and Mazeroski start down the front steps.)

MULDER: Has this boy ever been in any trouble?

MAZEROSKI: Gary?

MULDER: Yeah.

MAZEROSKI: No, I've known him since he was a kid. Same age as my son. Now, he's done some beer drinking, but he's just your basic sixteen-year-old. Least he was.

MULDER: You see a noticeable difference in him?

MAZEROSKI: Yeah, yeah. Gary Kane lived for football. He's a damn good athlete too. Now he won't even suit up.

MULDER: The Red Museum... how are they treated by the local citizens?

(Scully walks over.)

MAZEROSKI: Nobody much cares for them.

MULDER: Well, are they ever singled out? Shop owners refusing to sell to them, stuff like that?

MAZEROSKI: Well, there's a reasonable amount of tension but most folks are happy to just try to avoid them.

MULDER: Uh, can you recommend a good motel in the area?

MAZEROSKI: Sure. That means you're going to stay on for a bit. You think there might be something to this?

MULDER: Well, I, I want to run a background check on the church and this guy

MAZEROSKI: You've come to the right place for that.

---

SCENE 8
CLAY'S BBQ

(Scully sits with plates upon plates of food in front of her. She has a bib with the store logo on it, and it is covered with sauce. She finishes off a rib and puts down the bone, leaving some more sauce on her cheek by her lip. Mulder is sitting across from her with a bib on as well.)

SCULLY: You know, Mulder... ribs like these, I'd say the Church of the Red Museum has its work cut out for it.

(He wipes off the sauce on her face.)

Thanks.

So, you started to tell me about walk-ins but I'm not sure if I grasped the finer points.

MULDER: Well, it, it's kind of a new age religion based on an old idea. That if you, uh, lose hope or despair and want to leave this mortal coil, you become open and vulnerable.

SCULLY: To inhabitation by a new spirit.

MULDER: A new enlightened spirit. According to the literature, Abe Lincoln was a walk-in. And Mikhail Gorbachev and Charles Colson, Nixon's advisor.

SCULLY: But not Nixon?

MULDER: No. Not even they want to claim Nixon.

SCULLY: So are you still subscribing to the sheriff's claims of a possession?

MULDER: I don't know. In the absence of any other plausible explanation... it's a novel theory.

SCULLY: Well, I'll tell you something, I kind of feel weird saying this...

(Mulder looks out the window and sees a congregant of the Red Museum walking by to hollering and screaming.)

...but I got the creeps in that apartment today.

MULDER: Really?

TEENAGER: Hey, you tofu-eating towelhead!

(A car honks at the boy.)

SCULLY: Yeah, what, what's going on?

(The truck makes a U-turn and the boy in the passenger seat yells at the churchgoer.)

TEENAGER: Hey, veggieburger, who let you out!

(Mulder gets up.)

MULDER: I think the sperm posse just rode into town.

(The teenagers get out of the car and go to the boy, who stops and looks at him.)

RICK MAZEROSKI: Hey, diaperhead! We're talking to you. How's your pet cow?

TEENAGER: Did you get any milk out of him?

RICK MAZEROSKI: We're talking to you, Aladdin.

(He pushes him into the other teenager that is heckling, who pushes him back into Rick.)

What's the matter, diaperhead?

(He pushes him back to the other kid, who pushes him again.)

Huh? Huh?

RED MUSEUM TEENAGER: Nothing.

MULDER: Hey, leave him alone!

(They all turn to see Mulder coming towards them.)

Leave him alone.

(He looks at the Red Museum member.)

Go home. Go ahead, go home.

(The teenager silently turns and walks away.)

TEENAGER: Catch you later, Red.

MULDER: You got a problem?

KATIE: Yeah, but who asked you?

MULDER: I see four against one. I got a problem.

(Scully starts towards the group.)

SCULLY: Mulder?

RICK MAZEROSKI: Yeah, well, why don't you run along with the little wife? You're going to miss the tour bus.

(As Scully puts on her coat, Katie sees that Scully has a gun.)

FEMALE TEENAGER: She's got a gun.

RICK MAZEROSKI: Well, what's she going to do, shoot us? Go call my dad, Katie, I think he'd like to hear about this.

MULDER: Who's your dad?

RICK MAZEROSKI: He's the sheriff.

(Mulder looks at Scully.)

MULDER: Yeah, I think he would like to hear about this.

TEENAGER: Come on, let's just get out of here, Rick.

(Rick glares at Mulder, then walks past him, shoving into him as he does. The rest follow.)

SCULLY: Kind of hard to tell the villains without a scorecard.

---

SCENE 9
KATIE'S HOUSE

(Rick gets out of the driver's side and Katie walks around to him. The radio blares as he grabs her and french kisses her for quite a while. She smiles and he gets in his car. They wave to each other as he drives away. Katie starts towards her house and hears some whimpering. She looks over to the garbage cans and sees her dog.)

KATIE: Pupperdog? Is that you? Pupperdog?

(She starts petting the dog.)

What are you doing here, huh, girl?

(A man reaches out and grabs her, holding a cloth over her mouth. He drags her away, kicking and screaming. In the morning, Katie is sobbing. She is down to her bra and underwear. Every little noise makes her whimper even more. She leans up against a tree and looks up. She looks back at the ravens in an old tree. In her mind, the tree changes into a giant raven and starts pecking at her. She cries in horror and falls to the ground. Then she sees thousands of cockroaches crawling over her arms. She tries to brush them off, but to no avail.)

Get off me. Get off me! Help me! Please, somebody, help me! Help me! Please!

(On her back, the words "She is One" are written.)

---

SCENE 10
MOTOR LODGE REGISTRATION

(Mulder is on the phone writing something down, sitting on the bed.)

MULDER: Yeah, Eddie, this is all good stuff. Yeah, see what else you can find on him from the N.C.I.C. and call me back. At, at this number or on my cellular.

(Scully walks in. He hangs up.)

SCULLY: I just examined the girl.

MULDER: What'd you find?

(Scully sits down.)

SCULLY: Not much until the toxicology report came back. They found trace amounts of an unspecified alkaloid substance in her blood, possibly an opiate derivative, as well as a dangerously large quantity of something called scopolamine.

MULDER: Is that the stuff they use for motion sickness?

SCULLY: Well, only in very small doses. Anything past .2 micrograms and you've got a very powerful anesthetic with hallucinogenic qualities. It's been in the news lately because Colombian gangs have been using it in kidnappings to subdue their victims.

MULDER: Is it a controlled substance?

SCULLY: Yes, you'd probably have to be a doctor or a pharmacist to get hold of these quantities.

(He hands her his notepad and walks over to the table, picking up his gun and other things.)

"Richard Odin. Also known as Doug Herman. Left A.M.A. in 1986 over questionable ethics inquiry. Did not renew license."

(Mulder puts on his coat.)

MULDER: I'll drive.

(They walk out.)

---

SCENE 11
RICHARD ODIN'S HOUSE

(Mulder and Scully pull up. Mulder knocks on the door. The woman reading the words opens it. They show her his badge.)

MULDER: I'm Special Agent Fox Mulder. We're with the Federal Bureau of Investigation. We'd like to speak to Richard Odin. Is he in?

WOMAN: Just a moment.

(Odin walks up the door.)

MULDER: Richard Odin?

ODIN: Yes.

MULDER: We'd like to ask you some questions. May we come inside?

(He tries to steps in, but Odin holds up his hand.)

ODIN: I'm sorry. I can't allow you in this house.

SCULLY: We can get a warrant if that's what it takes.

ODIN: You can get a warrant if you'd like, but you will not enter this building.

MULDER: Well, how's that?

ODIN: Because you're meat-eaters. The building that houses our kitchens cannot be desecrated by your presence. I believe I'm well within my religious rights to prevent it.

SCULLY: Yes, sir, but you can't hide behind your rights if a crime has been committed.

ODIN: Have I been accused of a crime?

(A loud moaning starts behind them. The agents turn around to see the congregation of the Red Museum, all surrounding their car, looking at them and chanting.)

CONGREGATION: Ommm...

MULDER: We can always determine that elsewhere. Can you step outside, please, sir?

(Odin looks at him.)

Can you step outside, Mr. Odin? We're placing you under arrest.

---

SCENE 12
GRAHAM COUNTY SHERIFF'S STATION

(Odin is sitting in a seat at a table. Scully sits across from him, Mulder and Mazeroski are standing.)

SCULLY: Are you familiar with a substance called scopolamine, Mister Odin?

ODIN: Are you familiar with bovine growth hormones and inhumane treatment of beef and dairy cow...

MULDER: Just answer the question, Mister Odin.

ODIN: Yes, I know it. But I've never prescribed it or administered it.

SCULLY: Have you ever ordered others to do so?

ODIN: No.

MULDER: Do your religious beliefs preclude you from exacting revenge, either physically or psychically, on those who might not share them?

ODIN: The barbarians will one day be cleansed from the earth...

(Mazeroski starts towards him.)

MAZEROSKI: Answer the question! You did it, didn't you? You did something to those kids!

(Mulder grabs him by the arm and leads him out.)

MULDER: Sheriff...I've already had to go through this once with your kid. Can you just take a walk?

DEPUTY OUTSIDE: Hey, sheriff, can you come here for a second?

(Mulder closes the door.)

MULDER: You know, for a holy man, you've got quite a knack for pissing people off.

(Mazeroski comes in.)

MAZEROSKI: We got problems down the street.

(Outside, a congregation of people stand in the middle of the road outside Clay's BBQ. People are yelling at them.)

WOMAN: Keep your mind open to the wisdom of the guide.

MAN #1: We don't care about the wisdom of the guides!

WOMAN: All we ask is that you listen and...

MAN #2: Woo!

(The woman's talking is drowned out by the townspeople's heckling. Mulder, Scully and Mazeroski are walking towards the scene. Rick and his buddy drive up and get out.)

TEENAGER: All right, man, let's do it!

WOMAN: ...before it is too late. End the slaughter. The rights of the just must be protected.

MAN #1: Please!

WOMAN: Just as the barbarism against nature must cease. Violence against nature begets violence against man.

RICK MAZEROSKI: How about a little cow blood?

(Rick splashes the woman with a bucket of cow's blood. The congregants moan and gasp as the townspeople clap and cheer. Rick's father grabs him by the shoulder.)

MAZEROSKI: What do you think you're doing? Get out of here, get going. Get!

(He pushes Rick away from the scene. The townspeople continue to moan and groan. Scully looks at an old man in a red truck, who motions for her to get in. Scully looks back at Mulder, then walks to the car.)

OLD MAN: You the F.B.I. agents?

SCULLY: Yes.

OLD MAN: There's something I'd like to show you.

(Scully looks back at Mulder, who is watching her. They speed down the road in silence.)

---

SCENE 13
CATTLE FARM

(They reach their destination and get out. They walk over to the fence as cows moo.)

OLD MAN: This pastureland belonged to my granddad. He bought it in 1890. Yeah, he died right over there, next to that cattle pen. Eighty-two years old. Just fell off the tractor one morning. My dad worked this piece for the next forty years. I put in twenty-five myself before I decided to call it quits. Sold it for eighty times what my granddad paid.

(He chuckles.)

SCULLY: Why did you sell it?

OLD MAN: Ah... business changed. People changed too.

MULDER: In what way?

OLD MAN: Competition. Used to get by with fifty milk cows. Now, you got to have five hundred. Used to turn them out to pasture, now you keep them in pens and grain feed them.

SCULLY: You said you wanted to show us something.

OLD MAN: You're looking at it.

(He points to two men tending to the cows.)

See those men over there? Well, they're injecting the cattle with something called B.S.T. Bovine somatotrophin.

SCULLY: A genetically-engineered growth hormone.

OLD MAN: Yeah, shoot them up and the cow will produce ten percent more milk. Feed it to beef cattle, more meat on the hoof. Changed the business. Changed a whole lot of things.

SCULLY: How do you mean?

OLD MAN: Well, that, uh, fracas in town this afternoon. Ten, even five years ago, never would have happened. People around here have changed... gotten mean... spiteful... dog-eat-dog. We had seven rapes here last year by high school boys. Well, that, um... this, this business of the kids being found in the woods... well, I think that you're going to find it all comes from the same root source.

MULDER: The growth hormone.

OLD MAN: Yes, sir.

SCULLY: But these hormones have been proven safe. They've been cleared by the F.D.A.

OLD MAN: Says who? The government? God...

(He walks back to his truck.)

MAN: Yeah, that's good.

(Mulder and Scully look at each other, then follow. One of the men hands the other a needle, then turns back. His name is Gerd Thomas, and he is the man that has been looking through the peepholes. At night, an airplane flies over the farm. Sitting next to the pilot is a doctor carrying a haliburton briefcase.)

PILOT: I don't know, doc. I'm losing oil pressure like crazy. I don't know what's going on!

LARSON: How far are we from the airport?

PILOT: We're not going to make it. I'll have to find someplace to put it down.

(The pilot looks out the window as the engine sputters. The plane is quickly approaching the trees.)

LARSON: Look out!

(The plane nose-dives into the clearing just before the trees. The ensuing explosion is tremendous. In the morning, firemen, deputies and sheriffs survey the wreckage, some talking to one another. Two men wrap up the bodies as Mulder, Scully and Mazeroski walk over.)

MAZEROSKI: We're still trying to I.D. the pilot.

SCULLY: What about the second body?

MAZEROSKI: That's Doctor Jerrold Larson.

MULDER: Did you know him?

MAZEROSKI: Yeah. He delivered my kid. Something else over here I want you to see.

(He leads them over to the briefcase, which is cracked open. Mulder lifts it open with his pen and sees that it is half-filled with money and half-filled with vials, some broken.)

SCULLY: Thank you.

MULDER: Looks like the doctor may have been delivering more than babies.

MAZEROSKI: That's why I brought you out here.

(Scully takes a pouch out from the briefcase and unzips it, holding a rubber glove. She takes out a vial out and smells it. Mulder stands.)

MULDER: Any clue what this is about?

MAZEROSKI: I have no idea. Jerry Larson was a pillar in this community. He was the last of the country doctors.

MULDER: Well, wherever he was coming from, I'd say that was one hell of a house call.

MAZEROSKI: You don't think this has anything to do with what happened to those kids?

(Scully holds up the vial.)

SCULLY: I think we'll know more once we find out what this is.

---

SCENE 14
MOTOR LODGE REGISTRATION

(Scully is on the phone.)

SCULLY: You're sure? Both kids? No, it's okay, I'm... I'm sure you're correct. Thank you very much.

(She hangs up as Mulder walks in.)

MULDER: Scully? You're not going to believe this.

(He closes the door. Scully stands.)

SCULLY: You found a connection between the out-of-town kids and the kids abducted here. Every one of them was delivered and treated through childhood by Doctor Larson.

MULDER: Yeah, the print-outs we found in the briefcase were mostly shipping orders along with a list of credit card numbers, each number corresponding to a card in the victim's family.

SCULLY: Why would he carry a list of credit card numbers?

MULDER: I don't know. Maybe to track them the way credit card companies track stolen cards?

SCULLY: But why? And what was he treating them for?

(Mulder sits.)

MULDER: What was he treating them with?

SCULLY: I don't know. We won't get the test results back on the vial until tomorrow. Are you thinking it might be bovine growth hormone?

MULDER: I know that was the first thing through both of our minds, Scully, but it just doesn't track. Not with that briefcase full of cash.

SCULLY: I know. And it still doesn't answer the question of who's marking those kids... or why.

---

SCENE 15
CATTLE FARM

(Some congregants of the Red Museum walk through the pasture and the man who was handed the needle before opens up the gate.)

MAN: Go on. Away we go.

(He pats the cow on the back, who moos and walks out. The man takes off his gloves and puts his needles away. The peephole man, Gerd Thomas, puts something in the back of his truck.)

GERD THOMAS: So, I'll see you in the morning?

MAN: Yeah. 8:30 sharp.

(He closes up his box and watches Thomas drive off. Thomas stops and watches a man drive by him in a blue car. He looks back and keeps going. The man in the blue car gets out. It is the Crew-Cut Man.)

Howdy.

(The Crew-Cut Man shoots him and goes back to his car.)

---

SCENE 16
BETH KANE'S HOUSE

(Beth is taking out the garbage when Mulder and Scully pulls up.)

SCULLY: Hi. Sorry to come unannounced.

BETH KANE: Gary's not home right now.

SCULLY: Actually, we wanted to talk with you, if that's okay.

(Inside, they are sitting down except for Mulder.)

BETH KANE: I don't know what to say. You think Doctor Larson was doing some kind of tests on Gary?

SCULLY: Well, thinking back, was there anything that seemed strange to you? Was Gary sick often?

BETH KANE: No. Actually, Gary's never been sick a day in his life.

MULDER: Gary was never sick.

BETH KANE: No.

SCULLY: Why was he going to Doctor Larson?

BETH KANE: Doctor Larson gave him vitamin shots. He gave them to a lot of kids. He said it was like treating their teeth with fluoride... as a preventative measure.

MULDER: Did you ever take Gary to another doctor?

BETH KANE: No. Jay had wanted to.

SCULLY: Jay's your husband?

BETH KANE: Yes. He was concerned that Gary wasn't growing. Jay was six-five. He wanted Gary to play college ball.

(Mulder looks into the bathroom.)

But then there was Jay's accident.

SCULLY: What accident?

(Mulder notices the pinhole in the mirror.)

BETH KANE: It was seven years ago. He worked at the packing plant. He had an accident with one of the machines.

(They look away.)

MULDER: Excuse me? What is this?

(They walk into the bathroom. Mulder holds up his hand and the light from the pinhole shines on it.)

BETH KANE: What?

MULDER: This light here.

BETH KANE: I don't know.

(Mulder turns on the lights and looks at the peephole.)

MULDER: There's something back there.

(Mulder punches through the window with a towel wrapped around his hand. He looks in and see a video camera with thousands of videotapes.)

SCULLY: What is it, Mulder?

MULDER: Looks like somebody's private little movie studio.

SCULLY: What?

(They all look in.)

BETH KANE: Oh my God.

---

SCENE 17
DELTA GLEN

(Rick and his friend are getting drunk, sitting in their car in a clearing. Somebody is sneaking through the woods.)

TEENAGER: I got to drain the lizard.

(He looks at Rick, waiting for a response.)

RICK MAZEROSKI: What do you want, applause, man?

(They laugh and the teenager gets out of the car. After, the teen finishes, zips his fly and starts back to the car. Rick takes a sip of his beer when the man, Gerd Thomas holds a cloth over his mouth. When the teenager reaches the car, it is empty. Rick's side of the door is open.)

TEENAGER: Rick? Rick?

(Morning. The sheriff deputies are standing over Rick's body and Rick's friend is off to the side. Sheriff Mazeroski pulls up and gets out. One of the deputies walks over to him.)

DEPUTY: Sheriff? We're going to find who did this to him...

(Mazeroski walks by him.)

MAZEROSKI: Get away from him. Get back.

(Rick is face-down on the ground, the words "He is One" written on his lower back like the others.)

Oh my God... Ricky! Son...

(He turns him over and sees his eyes are open and cold. He lifts up his head.)

No. No, no!

(A short while away, the Crew-Cut Man walks out of the woods and over to his car. He throws his gun in the trunk, slams it shut, and goes to his door. Scully and Mulder are driving down a road. Scully is looking at a folder with a picture of Thomas.)

SCULLY: His name is Gerd Thomas. He's owned the building for twenty-one years. He used to run a day-care center out of it. They're holding him for us.

(The Crew-Cut Man pulls up to the road. They pass him as he makes a right turn. Scully looks at his face as he drives by.)

MULDER: What is it?

SCULLY: I know that face.

MULDER: What?

---

SCENE 18
GRAHAM COUNTY SHERIFF'S STATION

(An officer sits Thomas down in a chair and walks out. Mulder closes the door. Scully sits down.)

MULDER: That's quite a video library you've compiled for yourself. I especially like the ones with the little boys.

(Thomas speaks in a breathy, low, quiet voice.)

GERD THOMAS: I know. I'm... a sick man.

(Mulder sits down across the table.)

MULDER: No. No, men who know they're sick try to get help. You just kept right at it for years.

GERD THOMAS: I didn't mean to hurt anyone.

MULDER: Did you kidnap those kids?

GERD THOMAS: Yes.

MULDER: Are you prepared to confess to those crimes?

GERD THOMAS: Yes.

MULDER: And to the murders of Rick Mazeroski and...

GERD THOMAS: No. I never murdered anybody.

(Mulder opens up a folder and takes some pictures out. He stands and walks around Thomas.)

MULDER: Did you kidnap Rick Mazeroski?

(He puts two pictures down in front of Thomas: a close-up of the words "He is One" and a picture of Rick's dead body.)

Did you write this on his back?

GERD THOMAS: Oh my God...

MULDER: Answer the question.

GERD THOMAS: No, I... I never killed them. I never killed anybody, I... I really loved those kids.

MULDER: Is this how you express your love for them?

(He puts down a picture of Rick's face, looking cold, eyes open. He then pushes Thomas' face towards it.)

Did you kidnap Rick Mazeroski? Did you write that on his back?

GERD THOMAS: Yes!

MULDER: Why?

GERD THOMAS: Because of what he had become.

MULDER: What'd he become?

GERD THOMAS: Because those kids have become monsters.

MULDER: You're not making any sense. Now, you... make sense to me.

(Thomas nods.)

GERD THOMAS: Because of Doctor Larson, because of the tests.

(Scully's mind drifts off. In her mind, she sees the Crew-Cut Man driving in his blue car. Then she remembers seeing him drive by in the white van. She remembers him shooting Deep Throat. The gunshot echoes in her mind.)

SCULLY: Excuse me.

(She stands up and walks out. Mulder looks at her, then back at Thomas. He walks around across the table and sits down.)

MULDER: Okay, what tests?

GERD THOMAS: Doctor Larson was using those kids as guinea pigs and he was using us too.

MULDER: What do you mean, "using you?"

GERD THOMAS: To inoculate the cattle.

MULDER: With growth hormone?

GERD THOMAS: I don't know exactly what it was but he was paying us a lot of money to do it.

MULDER: So you're saying that Doctor Larson was paying you a lot of money to inject the cattle with something and you didn't know what it was.

GERD THOMAS: Not until later. Not until after all those rapes.

(He takes a few jagged breaths.)

Doctor Larson told my boss that he felt responsible for everything that those kids had done... and that he was giving them the same inoculations.

MULDER: Was Doctor Larson involved in the kidnapping?

(Thomas shakes his head.)

GERD THOMAS: No, no... he didn't want his secret to come out. He didn't care about those kids like me.

(Scully walks back in carrying a folder.)

SCULLY: Mulder?

MULDER: Mm-hmm?

(He stands up and goes over to her.)

SCULLY: I, uh... I think he's telling the truth. I don't think he killed anyone.

MULDER: Well, how can you be sure?

SCULLY: I just got the toxicology report back on the broken vial. The residual substance couldn't be analyzed because it contained synthetic corticosteroids with unidentified amino acids. That's "Purity Control," Mulder.

(They walk out. Mulder motions to the deputy, who goes back into the room.)

MULDER: Do you know what you're saying, Scully?

SCULLY: The man who died in that plane crash was inoculating those kids with antibodies derived from what may have been an extraterrestrial source.

MULDER: He's been injecting those kids with alien DNA.

SCULLY: No, Mulder, that was never proven conclusively.

MULDER: But it's the same substance we found in the Erlenmeyer flask, isn't it? The same material my Deep Throat contact died for.

SCULLY: Yes.

MULDER: It all makes sense. The money in the briefcase, they've been conducting an experiment here. Somebody's been paying to have those kids injected with alien DNA to see how they'd react. It's been going on for years.

SCULLY: Does that man know anything about it?

MULDER: No. He's just some poor soul who blew their cover. I don't think he knows any more than he's telling us.

SCULLY: Well, I think his boss must have because they just found him shot to death in a cow pasture.

MULDER: What?

SCULLY: I think I know who shot him, Mulder. That man that I recognized on the road today... that's the same man that executed Deep Throat.

(Mulder stares at her for a second in disbelief.)

MULDER: Well, whoever's behind this, he's here covering their tracks. He's going to go after the kids. You get the sheriff and meet me at Gary Kane's apartment.

(He starts away, then looks at her.)

And, Scully... I want this guy alive.

(He walks away as she stares at him.)

---

SCENE 19
BETH KANE'S HOUSE

(Mulder pulls up, runs out of his car and knocks on the door. Beth opens it.)

MULDER: Where's Gary?

BETH KANE: He's in his bedroom.

MULDER: Go pack some clothes, things you need. You're all coming with me.

(A police car pulls up.)

BETH KANE: What?

MULDER: I'll explain later.

(He runs down the stairs as Mazeroski gets out of his car.)

Those credit card numbers, every kid's family that was listed. Get them packed up. Call out every man you've got.

MAZEROSKI: Where are we taking them?

---

SCENE 20
RICHARD ODIN'S HOUSE

(Odin opens the door to see Mulder standing there.)

ODIN: Yes?

MULDER: I need your help.

(Odin looks at him, a little shocked.)

ODIN: For?

MULDER: It may offend your religious sensibilities but it could help save some kids' lives.

---

SCENE 21
CHURCH OF THE RED MUSEUM; DELTA GLEN, WISCONSIN

(The townspeople file into the main building, murmuring. On the other side of the room, congregated around the seats, are the followers. The Kanes walk in. Mazeroski makes his way through the crowd and looks at the little kids of the Red Museum. Scully walks over to him.)

SCULLY: Sheriff... where's Mulder?

MAZEROSKI: He told me to make sure that the kids were safe. He thought there was some other place this guy might be.

---

SCENE 22
J.A.S.D. BEEF; DELTA GLEN, WI

(Mulder pulls up and gets out. He walks in and moves to a doorway, gun in hand. He reaches out onto the walls next to him with both hands and flicks on the light switch. Walking slowly, he stops and sees a trail of some kind of liquid on the ground. He kneels down and smells it, then follows the path, stepping around the large hanging pieces of meat. He walks over to the gasoline can on the ground. He follows the trail down a corridor where enormous pieces of meat stream down on each side of him, all wrapped up. There is some clanging to his right and he draws his gun again. Walking into the hallway, he sees another gasoline can. Going back to the room, the Crew-Cut Man, carrying another gasoline can, steps out from between two of the pieces of meat and walks the other way, not seeing Mulder. Mulder aims his gun.)

MULDER: Stop right there!

(The Crew-Cut Man does not even bother to look back, he just runs, dropping the gas can. Mulder moves swiftly after him and slowly walks down through the next meat passageway. He looks under some of them, kneeling and moving. Suddenly, the Crew-Cut Man swings out on a meathook and kicks Mulder square in the face with both feet, knocking the gun out of his hand. He smiles and runs off. Mulder gets to his feet and runs after him as the Crew-Cut Man locks him in.)

Hey!

(The Crew-Cut Man takes out his lighter and lights it. Scully and three officers walk in through the door behind him. Scully aims her gun.)

SCULLY: Don't move!

(He turns around.)

Put it down. Now.

(The Crew-Cut Man smiles.)

Just put the lighter down.

(Mazeroski holds his shotgun on him with one hand. His hand is shaking. Mulder bangs on the door. Scully turns to look and the Crew-Cut Man moves his lighter towards the gas can. Mulder bangs a little more but stops when he hears two gunshots and a man yelling in pain. Mulder bangs on the door more as three more gunshots go off.)

MULDER: Hey!

(Mazeroski walks towards the Crew-Cut Man's dead body, firing two more shots until he is out of bullets. He pushes the trigger repeatedly and the gun clicks. Mazeroski starts to cry. A deputy unlocks the door and Mulder walks out. Two officers follow him. Mulder looks at the Crew-Cut Man, then at Mazeroski.)

Get him out of here. Get everyone out of here!

(They start to file out. A deputy grabs Mazeroski's arm.)

DEPUTY: Come on.

(He walks out with Mazeroski, who looks at the Crew-Cut Man the whole time. Scully, typing her report, speaks over the scene.)

SCULLY: File number XWC060361. The identity of the man shot in the slaughterhouse has yet to be determined. His name, any record or artifact of his past, present or immigration status have yet to be found. His fingerprints are not on file in either the F.B.I. or National System of Records. At this time, it remains doubtful that anyone will come forward to I.D. or claim the body.

(Mulder and Scully walk away.)

---

SCENE 23
CHURCH OF THE RED MUSEUM; DELTA GLEN, WISCONSIN

(The children of the town stand together as Scully continues to speak.)

SCULLY: Under further analysis, the inoculant found in the broken vials was isolated and determined to be an unstable antibody of no known biological origin. After three weeks of study, the components of the serum, probably synthetic, have broken down structurally and, in this retrograde state, cannot be analyzed further. This coincides with the development of a severe and undiagnosed flu-like ailment affecting the children who were believed to be inoculated and some of the local families.

(The people of the Red Museum look back at the townspeople.)

To date, none of the congregants or members of the Church of the Red Museum have contracted this illness. I suspect whoever was doing may have been using them as a control group.

(Cut to a shot of the open briefcase.)

The shipping manifests for what is believed to be milk and beef tainted by the unspecified inoculant do not provide enough information to track their destinations.

(Cut to a shot of Clay's BBQ, which has a sign in the window that says "Closed Until Further Notice.")

A local advisory and quarantine have been established. Further inquiry into the tainted beef has been promised by the pertinent government health agencies.

(The old man sits in his car, looking at the closed shop.)

The F.B.I. investigation into this case is currently at a standstill. The case remains open and unsolved.

(He drives off.)

[THE END]