The characters, plotlines, quotes, etc. included here are owned by Chris Carter and 1013 Productions, all rights reserved. The following transcript is in no way a substitute for the show "The X Files" and is merely meant as a homage. This transcript is not authorized or endorsed by Chris Carter, 1013 Productions, or Fox Entertainment. It was painstakingly typed out by CarriK and made available for your personal enjoyment by me, DrWeesh from my website, The X Files Transcripts Archive




SCENE 1
(Dark and Stormy Night. A priest, FATHER MCCUE, goes up to the KERNOF house.
MRS KERNOFF answers the door.)

MRS KERNOF: Good Evening, Father.

FATHER MCCUE: Is she ready?

MRS KERNOFF: Yes.

(He enters.)

(Later, FATHER MCCUE is pouring a flask of water into a metal basin.)

FATHER MCCUE: Baptism is the rite of initiation. This holy water takes away original sin. The sacrament confers the grace of god Ö bringing the soul into Godís family.

(MR and MRS KERNOF go to their wheelchair bound daughter, DARA who is physically very handicapped. MR KERNOF holds DARA as she is baptized. DARA reacts as the water touches her face.)

FATHER MCCUE: Dara, I baptize you in the name of the Father Ö and of the Son Ö and of the Holy Spirit. Bless you my child.

(MR and MRS KERNOF are very happy.)

(Later. The KERNOFS are in bed. The storm is much worse. DARA gets out of bed. She has six toes on each foot. MR KERNOF hears a noise. He gets out of bed.)

MR KERNOF: Dara?

(He goes into DARAíS room. Her bed is empty. He looks out the window and sees her stumbling down the street outside)

MR KERNOF Oh, my God.

(Outside, DARA approaches a figure dressed in black. She falls to her knees and raises her hands as if in prayer.)

MR KERNOF: (running toward them) Dara?! Dara!

(There is a very bright flash of light. The dark figure is gone.)

MR KERNOF: Dara! Dara?

(He reaches DARA. She is dead, frozen in the position of prayer. Her eyes have been burned out. Crying, MR KERNOF holds her.)

MR KERNOF: Oh Ö Oh, God. Oh, my God. Dara! No! Noooo!

(Camera pulls away until the telephone pole hides the father and daughter behind the shape of a cross.)



[OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS]




SCENE 2

ST JOHNíS CHURCH
ALEXANDRIA, VA
(SCULLY enters church. She looks around for a moment and at a picture of EMILY. One other woman is there, praying. SCULLY goes to a confession booth.)

SCULLY: Bless me, Father, for I have sinned. It has been several months since my last confession.

PRIEST: You have a sin to confess?

SCULLY: Father, Iím an FBI agent. Iíve taken it as my code and purpose to uphold the law Ö
to save lives.

PRIEST: And now your work has come in conflict with your faith.

SCULLY: In a way. I was here for Easter services last week and Father McCue approached me for my help.

PRIEST: Why did he come to you?

SCULLY: Because there was a family that he felt needed my help. But it was more than that. Father, I had a daughter who died Ö A strange and sudden death several months ago.

PRIEST: Father McCue thought that by helping these people you might in some way help yourself to come to terms with your grief.

SCULLY: Yes.

PRIEST: But you havenít.

SCULLY: (crying) Father, I told you that I had a sin to confess Ö But the sin of which Iím guilty Ö Iím not sure if you can offer forgiveness.

PRIEST: What is the sin?

SCULLY: An innocent girl is dead because of me. I couldíve saved her life, but I let her die.




SCENE 3
EASTER SUNDAY
ONE WEEK EARLIER
(SCULLY exits church with other parishioners. FATHER MCCUE is shaking hands.)

FATHER MCCUE: Dana Ö Do you have a moment? Iíd like to speak with you in private.

(Later, in FATHER MCCUEíS office.)

FATHER MCCUE: I must say, Dana, itís been nice seeing you at mass again. Iíve almost started getting used to it.

SCULLY: Iíve been trying to make an effort to come more often.

FATHER MCCUE: I donít mean to take advantage of your attendance, but Iíve become involved in a difficult situation with a couple that are also members here. Do you know the Kernofs?

SCULLY: No, Iím afraid I donít.

FATHER MCCUE: Recently, they lost their daughter, Dara. You may have heard about the situation?

SCULLY: No, I didnít.

FATHER MCCUE: The circumstances of the girlís death were sudden and Iím afraid the police havenít been able to tell them much.

SCULLY: Are you asking for my help?

FATHER MCCUE: The Kernofs are devout but their faith is giving them little comfort. I thought with your background your words might carry a certain weight. Can I tell them youíll be visiting?





SCENE 4
(KERNOFF house. SCULLY sits with MRS KERNOFF in the living room. MR KERNOFF stands in another room staring out the window.)

MRS KERNOFF: (showing picture of DARA) Thatís Dara on her 16th birthday. We couldnít have children of our own. I persuaded Lance six years ago to adopt. At first he was reluctant to accept a special needs child, but he became so attached to her. Then this happens. You make the choice never imagining something like this or how vulnerable you are. Dara had just been baptized. I know in my heart sheís gone to a better place, but Lance is angry. Angry at God. They say time heals.

(SCULLY looks over at MR KERNOF.)

SCULLY: Oh, Father McCue said that, uh, that youíve been having trouble getting much information about what might have happened to her.

MRS KERNOFF: They say now she may have been struck by lightening but no one seems to know for sure. How she even got out of the house onto the street is a mystery.

SCULLY: What do you mean?

MRS KERNOFF: Dara suffered from congenital spinal deformities. Sheís been wheelchair bound her whole life.

SCULLY: Could somebody have taken her out of her room?

MRS KERNOFF: Lance said he saw her walking and that when he found her she was on her knees, praying. I think thatís the hardest part for my husband. Heíll never understand how God could Ö forsake the life of an innocent girl. How God, in His mercy could let this happen to our Dara.

CUT TO:
(Confessional. Present)

SCULLY: Mrs. Kernof was talking about her husband, but she might as well have been talking about me.

PRIEST: You, too, were angry at God?

SCULLY: I felt drawn to these people, Father Ö in a very personal way. I was determined to help them understand why their daughter had been taken.

PRIEST: And did you?

SCULLY: As much as I have my faith, Father, I am a scientist trained to weigh evidenceÖ
but science only teaches us how Ö not why.




SCENE 5
(Morgue.)

CORONER: If you want me to stand by my report, I will, but I have to say itís not exactly open and shut on the cause of death.

SCULLY: You think it was lightning?

CORONER: Iím guessing it was lightning, The way her eyes were burned suggests the bolt may have gone to ground right through the top of her head. Funny thing is there was no other sign of arcing except for the face.

SCULLY: Her mother said that she was found in a kneeling position.

CORONER: Genuflecting. Are you a religious person?

SCULLY: Why do you ask?

CORONER: I havenít been to church since I was a kid, but I went last Sunday. Iím going to show you something. (Shows pictures of DARAíS body.) Her body was rigored such that I had to do my examination in the position she was found. Iíve never seen anything like it.

(One of the close-up pictures show a scar on the outside of DARAíS hand.)

SCULLY: Looks like there was surgery done on her hands.

CORONER: She was polydactyl. Same with her feet. I havenít asked her parents yet. Havenít had the heart to, but I assume they had the extra fingers removed.

SCULLY: Whatís the connection?

CORONER: I found no other evidence of any other tissue damage of electrical burns or any other serious trauma. Itís as if God Himself struck her down.

SCULLY: Dara Kernof was adopted. I donít suppose that youíve requested any information about the birth mother.

CORONER: I can do that if you like.

SCULLY: No, thatís okay. I, uh Ö I have someone I can ask. Somebody Iíd like to confer with, actually.




SCENE 6
STATE PSYCHIATRIC HOSPITAL
MOUNT LEBANON, VA

(A man gets out of a silver Cutlass Ciera. There is an upside-down cross pendant hanging from the rearview mirror.)

(Inside. FATHER GREGORY and an ORDERLY are walking down a hall.)

ORDERLY: Koklos Ö Koklos Ö Paula Koklos, room 213. Weíll get her things packed up and get you on your way.

(The ORDERLY begins to unlock the door. Inside the room, PAULA KOKLOS, identical to DARA KERNOF, is looking out the window. At the sound of the key in the lock she jumps then begins crawling across the floor. She has six fingers on each hand.)

STARKEY: (running down the hall) Hold it! Just hold it. Are you Father Gregory?

FATHER GREGORY: Yes.

STARKEY: Iím Aaron Starkey with the Department of Social Services. I am very sorry but weíve had a mix-up.

FATHER GREGORY: What are you talking about?

STARKEY: Your adoption petition for Paula Koklos. Itís missing an approval.

ORDERLY: Iíve got the court order right here.

STARKEY: Well, thatís the mix-up. See, it never should have gone to family court without getting an approval from the social worker assigned to the case, and thatís me.

FATHER GREGORY: Give it to me here then and weíll be on our way.

STARKEY: No. I canít, at least not yet. Iíve just been assigned to Paula, so Iíll need time to familiarize myself with her caseÖ

FATHER GREGORY: Look, Iíve already been through all this. Iím here to take the girl home.

STARKEY: Iím sorry, Father, but youíll have to wait Ö until I can get the paperwork in order.

(FATHER GREGORY walks away, stiffly.)




SCENE 7
(SCULLY in her apartment looking at pictures of DARA. Sound of HEAVY rain outside. She looks at picture of Emily. About to cry. Phone rings.)

SCULLY: (on phone) Hello?

(MULDER is in a phone booth dressed very casually throughout the ep. Rain is very heavy.)

MULDER: (on phone, impatient) Hey, Scully. Iím returning your call. (checks his watch)

SCULLY: (on phone) Hi .. uh, somethingís come up. I was, uh, hoping that you could do me a favor.

MULDER: (on phone) Why? Whatís going on?

SCULLY: (on phone) This isnít official FBI business so I was hoping that we could keep it outside of work.

MULDER: (on phone) Hey, look, Iím, uh Ö Iím kind of tailing a possible suspect right now, so Iím kind of rushed, so, uh Ö

(Through the window of MULDERíS phone booth you can see neon pink - XXX.)

SCULLY: (on phone) I need some birth and adoptive records on a Dara Kernof.

MULDER: (on phone) Who?

SCULLY: (on phone) Dara Kernof. I canít tell you much more than that, Mulder. Iím sorry.

MULDER: (on phone) You want to give me a hint? Anything?

SCULLY: (on phone) Not until you get me those records.

MULDER: (on phone) All right, Iíll talk to you later.

(MULDER hangs up and runs back into movie theatre - Marquee says- 6 PM AND 11 PM -
A DECADE OF DIRTY DELINQUENTS)




SCENE 8
STATE PSYCHIATRIC HOSPITAL
1:04 AM

(A figure walks down hall to PAULAíS room and stands in her doorway. PAULA raises her hands in prayer. There is a very bright flash of light.)

(Commercial)




SCENE 9
(Psychiatric hospital. Next day. SCULLY watches as coroners cover PAULA, now dead on a gurney, and wheel her out of the room Her eyes are burned out. SCULLY sees an upside-down cross pendant hanging on the wall. MULDER enters.)

MULDER: Scully? Arenít you the secret squirrel.

SCULLY: What so you mean?

MULDER: Just got a look at that body they wheeled out of here. Youíve been holding out on me.

SCULLY: Mulder, itís not what you think. I - I didnít want to involve you. I got asked to look into this as a favor for a family.

MULDER: Dara Kernofís family?

(MULDER begins pacing.)

SCULLY: You found Daraís records?

MULDER: No, those are her birth records. The adoption records have been sealed.

SCULLY: I think one of my questions has already been answered. Dara was a twin.

MULDER: No. Actually she was a quadruplet Ė one of four girls. Was this, uh Ö cross found like this?

SCULLY: Uh, yes, as far as I know. Why?

MULDER: Itís inverted. Upside down. Thatís a protest, a sacrilege against the church.

SCULLY: Put there by whom?

MULDER: Itís your case, remember, Scully? Do you have any suspects?

SCULLY: Not as of this time.

MULDER: Could the, uh, the victim have placed it?

SCULLY: Uh, itís doubtful. Paula Koklos was severely impaired -- physically and mentally Ė as was Dara Kernof.

MULDER: And they both died the same way?

SCULLY: It appears that their eyes were burnt out. Their bodies frozen in a position of prayer.

MULDER: Their physical deformities could account for that.

SCULLY: They might.

MULDER: Look, Scully. I know you donít really want my help on this, but can I offer you my professional opinion? (SCULLY nods.) Youíve got a bona-fide, super-crazy, religious wacko on your hands.

SCULLY: What makes you so sure?

MULDER: The mote in the eye, the eyes as windows to the soul, an eye for an eye Ė heís working from ancient scripture Ö ancient text Ö Maybe even the Bible. He may even think heís doing Godís work.

STARKEY: (entering) Did you find anything? My name is Aaron Starkey. Iím the social worker assigned to Paula Koklos. This is so tragic. I just hope you catch whoever did this.

SCULLY: Mr. Starkey, do you happen to know if that cross over there belonged to Paula?

STARKEY: I donít remember seeing it before. Iím sure it didnít.

SCULLY: Did she have any visitors or anybody who might have left it behind?

STARKEY: Well, she had no family. No friends, really. I donít know if you knew this, butÖ Paula was about to be adopted.

SCULLY: By who?




SCENE 10

(MULDER and SCULLY drive up to The Church of St. Peter the Sinner. The name of the church is prefaced by an upside down cross. They enter the church. It looks like an old warehouse, very simple. Folding chairs set up as pews. Someone watches them from under the stairs. MULDER finds a plainly bound book: The Book of St. Peter the Sinner. It has an upside-down cross. He turns the book upside down, looks at the cross, then turns it right-side up.

MULDER: Scully, look at this. (Begins thumbing through it.) The Gnostic Gospels, Book of Enoch Ö Book of J Ö Apocrypha Ö Iím surprised thereís nothing here from "Jesus Christ Superstar".

SCULLY: What kind of church is this?

MULDER: Thereís no telling.

FATHER GREGORY: (entering) Can I help you?

SCULLY: Father Gregory?

FATHER GREGORY: Yes?

SCULLY: Iím Dana Scully. Weíre here about the death of Paula Koklos.

FATHER GREGORY: (reacts to the news with shock) Oh Ö

SCULLY: Are you all right, Father?

FATHER GREGORY: I was trying to adopt Paula. Iím sure you knew that.

MULDER: (suspicious) We hear you were very anxious to do so.

FATHER GREGORY: I Ö I hope to God youíre not suggesting I had something to do with it.

MULDER: Why adopt her?

FATHER GREGORY: You think I was interested in harming her?

MULDER: Why adopt her?

FATHER GREGORY: I - I was trying to protect her. I knew her mother.

SCULLY: Do you know where she is?

FATHER GREGORY: Yes.

SCULLY: We were looking for her name. Itís not listed on the girlsí birth records.

FATHER GREGORY: Why would you want it?

SCULLY: The other two girls may be in danger. Weíre hoping that she might be able to help is find them.

FATHER GREGORY: Their mother died in childbirth.

(SCULLY looks to MULDER who says nothing.)

SCULLY: Can you give us a name?

FATHER GREGORY: When I was a priest in the Roman Church, before I founded my own, I was her confessor. Divulging her name would violate the code of my faith Ö(he looks at SCULLYíS cross necklace) Ö and yours, I see.

MULDER: You said you wanted to protect Paula. From what?

FATHER GREGORY: Whatever your intentions Ö your secular prejudices blind you from seeing whatís really happening here. Two girls are dead Ö not by the hand of Man. Unless you accept the truth of Godís teachings that there is a struggle between good and evil for All Souls and that we are losing that struggle, youíre but fools rushing in. You put your own lives in danger as well as the lives of the Messengers. I have nothing more to say..

CUT TO:
(Confessional. Present.)

SCULLY: I brought Agent Mulder on the case to help temper my feelings Ö to keep them from clouding my judgement. I wouldnít admit it to him, but Ö as we stood there, I felt as if Father Gregory were speaking directly to me Ö in a language only I could understand.

PRIEST: The Messengers.

SCULLY: Yes.




SCENE 11
(MULDER and SCULLY are coming out of FATHER GREGORYíS church.)

MULDER: I know people in glass houses shouldnít throw stones, blah, blah, blah, but that guy is paranoid.

SCULLY: I think youíre a little extreme in your judgment, donít you, Mulder?

MULDER: All that crap about the fight for All Souls, the literature we saw in there, the performance we just witnessed Ė it all fits. He thinks heís doing Godís laundry.

SCULLY: Well, he said this wasnít done by the hand of man. Do you think he believes that, too?

MULDER: If he does, heís even more dangerous than he appears. Even if heís not your killer, he is hiding something.

SCULLY: What?

MULDER: Well, he says he knew the mother, but wonít give up her name. Maybe sheís still alive. I think you have enough to bring him in for questioning if not make an arrest.

SCULLY: But, basically, youíre ruling out any element of the supernatural?

MULDER: (slowly) What Ö do Ö youÖ mean?

SCULLY: Well, Dara Kernof was baptized on the day of her death. She was sanctified by the ritual sacrament Ö submerged in the spirit..

MULDER: And why would God allow this to happen. Why do bad things happen to good people? Religion has masqueraded as the paranormal since the dawn of time to justify some of the most horrible acts in history.

SCULLY: I was raised to believe that God has His reasons, however mysterious.

MULDER: He may well have His reasons but He seems to use a lot of psychotics to carry out His job orders. You want to find out who did this? I suggest you autopsy the body of Paula Koklos before itís interred, before the man who killed her has a chance to find her sisters. (Gets in driver's side of the car.)




SCENE 12
(Autopsy bay.)

SCULLY: The victim is Paula Koklos, age 16, cause of death unknown. Iíll begin with the external examination. (Pulls back sheet to show PAULAíS burned eyes. PAULA has six fingers on each hand) Victim has signs of congenital physical defects including four supernumerary digits. The only indications of external trauma are the burning Ö by means unknown, of both globes of the eyes. (feels a lump on the shoulder) Iím noting something on the shoulder Ė a bony process of some kind, possibly a tumerous mass. No- no indication of surgical procedure. (looks at x-ray) The mass appears on both the right and left clavicle.

(When SCULLY looks back at the table, she sees EMILY lying there, looking at her. SCULLY closes her eyes. When she opens them again she sees PAULA staring back at her.)

SCULLY: (quietly) Oh, God. (turns away)

EMILY: Mommy?

(SCULLY turns in shock to see EMILY speaking to her.)

EMILY: Mommy, please.

(SCULLY, beginning to cry, puts her hand over her mouth and turns away. When she turns back, Paula is there again. SCULLY tries to get control of herself.)

CUT TO:
(Confessional. Present.)

SCULLY: I told myself that it was all in my head Ö a hallucination brought on by my emotional connection to the case.

PRIEST: That would seem to be a reasonable explanation.

SCULLY: But thatís not what it was, Father. I was meant to see Emily Ö for a purpose.

PRIEST: Which was?

SCULLY: To save these girls.




SCENE 13
(SCULLY is in lab looking at autopsy results)

MULDER: (on phone, voice) Hey, Scully, itís me. I did a little more digging on those adoption records.

SCULLY: (on phone) What do you mean?

MULDER: (on phone, driving slowly - in sunglasses) I think I got a lead on that third sister.

SCULLY: (on phone) Where?

MULDER: (on phone) She was under county care ten years ago. Apparently, she wandered into a teen crisis center here in DC last week, homeless. That guy over at, uh, social services, Starkey Ė heís helping me canvas the area. (Stops the car and begins walking, followed by STARKEY.)

SCULLY: (on phone) Well, Mulder, if she shares anything with her sisters, she wouldnít be walking anywhere far.

MULDER: (on phone) What did you find?

SCULLY: (on phone) Thereís evidence of a progressive degenerative bone disease and, uh, I know youíre going to think that Iím crazy Ö but I swear I found evidence of something winglike.

(MULDER looks in a silver Cutlass Ciera that has an upside down cross hanging from the rearview mirror.)

MULDER: (on phone) Well, then, maybe she flew here, Scully.

SCULLY: (on phone, voice) Mulder, thereís something else Ö

MULDER: (on phone) Why donít you hold that thought and tell it to me and Father Gregory when you see us?

(STARKEY goes into a fenced off area. MULDER hangs up and goes after him.)

(Another girl, identical to DARA and PAULA, stumbles into a room in an abandoned building. A dark figure follows her into the room. She raises her hands in prayer. There is a very bright flash of light.)

(MULDER enters the building. No sign of STARKEY. MULDER sees a figure at the end of a hall and pulls out his gun. It is FATHER GREGORY.)

MULDER: Stop right there! Move into the light. Move into the light. Hands where I can see them!

FATHER GREGORY: Weíre too late.

(MULDER pushes FATHER GREGORY against the wall, roughly.)

MULDER: Whereís the girl?

FATHER GREGORY: Sheís dead.

MULDER: Where is she?

FATHER GREGORY: In there.

(MULDER slowly pushes open a door and enters. The girl sits in a position of prayer. Her eyes are burned out. MULDER looks up suddenly as a bird flies up and out through a grate in the roof.)




SCENE 14
(Interrogation room. MULDER sits at table with FATHER GREGORY. SCULLY stands behind MULDER. FATHER GREGORY is quietly murmuring.)

MULDER: What are you asking for, Father? Mercy or forgiveness? You know they say when you talk to God itís prayer, but when God talks to you, itís schizophrenia. What is your God telling you, Father?

FATHER GREGORY: I pray for the girlsí souls.

MULDER: You pray for their souls now. Thatís convenient.

FATHER GREGORY: Iím immune to your mockery. Youíre not interested in the truth.

MULDER: I am only interested in the truth. I would like to know why you did what you did to three defenseless, helpless young girls. What in your sick mind would possess you to burn their eyes out! Did they see you for who you are, like I do? (Pushes upside down cross pendant toward him.) What does this mean, Father?

FATHER GREGORY: (to SCULLY) Tell him what it is.

(MULDER looks at SCULLY. SCULLY hesitates.)

FATHER GREGORY: St Peter. You know the story. St Peter on the cross.

SCULLY: St. Peter would only be crucified upside-down out of humility towards Christ.

FATHER GREGORY: Iíve risked my life to protect their precious souls, which the devil has sought to claim for his own. He took two before I could reach them. I was too late to save the third.

(GUARD enters.)

GUARD: Agents Mulder and Scully?

(MULDER leaves, SCULLY following slowly.)

FATHER GREGORY: (to SCULLY) You know. Youíve already guessed Ö what they are. The last one is still out there. The Devil is here and if he finds her, his victory will be complete.

MULDER: (reentering) Scully, they think theyíve found the fourth girl.

FATHER GREGORY: As long as Iím in here, thereís no one to protect her. Let me go Ö or she will die.

CUT TO:
(Confessional. Present.)

PRIEST: You believed him.

SCULLY: Yes.

PRIEST: But you didnít tell your colleague.

SCULLY: He believed that he could find the last girl. But I already knew that I was meant to save her.

PRIEST: From what?

SCULLY: I wasnít sure. Father Gregory said that the Devil claimed the lives of the first three girls.

PRIEST: You donít believe that.

SCULLY: I know now that Father Gregory was mistaken. The Devil didnít take their souls, but the threat to those girls was real. And Father Gregory gave his life to protect them.




SCENE 15
(MULDER and SCULLY walking through police station. SCULLY is looking at folder.)

MULDER: The fourth girl is Roberta Dyer. Transferred to Maryland Adoption Services in 1995 when her foster father got a job in Gaithersburg. Adoption services were called out to investigate allegations of child abuse in September of that year. Three more times in í96, then two more times in í97.

(SCULLY does not respond, just stares at the picture of the girl.)

MULDER: Whatís wrong?

SCULLY: Father Gregory called them Messengers.

MULDER: Scully? Scully, donít let this guy get in your head. Thatís the last thing you want. Sometimes the most twisted ones are the most persuasive.

SCULLY: Mulder, he knows where she is.

MULDER: Well, thatís okay. As long as heís locked up here, it doesnít matter.

SCULLY: Youíre not going find her. I think youíre being misled.

MULDER: By who? Scully, I think youíre the one whoís being misled. Not just willingly, but willfully. Iíve never seen you more vulnerable or susceptible or more easily manipulated and it scares me because I donít know why.

SCULLY: I saw Emily. She came to me in a vision.

(Puts his arm around her shoulders and leans in close to her.)

MULDER: I think you should step away. Personal issues are making you lose your objectivity, clouding your judgement.

SCULLY: You go. Go find the girl. Iím going to finish up with Father Gregory.

MULDER: Okay.

(MULDER releases her shoulder, gently takes the folder and leaves.)




SCENE 16
(Interrogation room. FATHER GREGORY is alone.)

STARKEY: Father Gregory. Where is she, Father?

FATHER GREGORY: (seeing STARKEY) How did you get in here?

STARKEY: I will not be denied this time, Father.

FATHER GREGORY: But you took the others.

STARKEY: The others were taken from me. I will not allow that to happen again. Where is the fourth girl?

(FATHER GREGORYíS hands begin to smoke and turn red. He cries out in pain.)

STARKEY: (voice deepening) Tell me, Father. Save yourself.




SCENE 17
(Outside interrogation room. SCULLY tries the door. It is locked. A GUARD is sitting at a nearby desk.)

SCULLY: Iíd like to get back in here.

GUARD: It should be open. (He tries to unlock the door.)

SCULLY: Father Gregory? (bangs on door) Father Gregory?

(Inside the room, we see FATHER GREGORY dead. His skin is completely red and blistered.)




SCENE 18
(DYER house. Police cars pull up. MULDER and police go to door. DYER, a very slimy man, answers. MULDER pushes his way in the house, shoving a warrant into DYERíS hands.)

MULDER: We have a warrant to search the premises for your daughter.

DYER: Sheís not here. I tell you, sheís out Ö sheís at school.

MULDER: We checked at school. She hasnít been there in over a week. We have reason to believe that her life may be in danger. If you know something Ö (Tries door under stairs.) Whatís behind this door?

DYER: Itís the basement.

MULDER: Well, can you unlock it?

DYER: I donít have the key.

(MULDER gives him a look, then kicks in the door. He shines his flashlight in. Blankets and clothes and dirty dishes are strewn about. It looks like a homeless personís corner of an alley.)

MULDER: (angry) Is this her room? Where is she, Mr. Dyer? Where is she?!

DYER: Theyíre going to cut off the checks, arenít they?

MULDER: Where is she?!

DYER: He said heíd take her off my hands, but I could keep the disability.

MULDER: Who?

DYER: The priest.

MULDER: Who?!

DYER: Father Gregory.




SCENE 19
DISTRICT POLICE STATION
9:52 PM
(SCULLY is walking to her car. Her key doesnít work in the lock. She looks through her keys. Still has Apollo 11 key ring MULDER gave her last year. Phone rings.)

SCULLY: (on phone) Hello?

MULDER: (on phone, voice) Yeah, hi, Scully. Itís me.

SCULLY: (on phone) Heís dead, Mulder.

MULDER: (on phone, voice) Who?

(MULDER is standing in the basement of the DYER house.)

SCULLY: (on phone) Father Gregory. They found him alone in the interrogation room. No one can figure it out. There was a guard sitting right outside the room.

(SCULLY drops her keys. She bends down to pick them up and sees a pair of legs.)

MULDER: (on phone, voice) We didnít find her. The fourth girl Ė she was here.

(Speechless, SCULLY looks up slowly and sees a manís smiling face which is backlit by a very bright light. The head begins turning, different animal faces appear.)

MULDER: (on phone, voice) Hey, Scully. Scully, you there? Answer me. Scully? Scully!

(Very bright light.)

(Commercial.)




SCENE 20
(FATHER MCCUEíS office. Next day.)

SCULLY: Father?

FATHER MCCUE: Come in, Dana. I understand you found the man responsible for the death of those girls. Iím sure the Kernoffs will be relieved.

SCULLY: Iím not sure if they should be, Father.

FATHER MCCUE: Why not?

SCULLY: Iíve seen things. Things that have made me question if there arenít Ö larger forces at work here.

FATHER MCCUE: What have you seen?

SCULLY: Visions Ö of my daughter Emily, for one.

FATHER MCCUE: I think thatís understandable. Iím sure you identified with the loss.

SCULLY: I considered that, umÖ but then I saw something last night, which I Ö Which I canít explain. I saw a man Ö in dark clothes Ö but he had four faces. They werenít human.

(FATHER MCCUE goes to a bookshelf and gets an old book. He opens it and hands it to SCULLY. There is a drawing of a figure with four animal faces and four human figures below it.)

FATHER MCCUE: Is this what you saw? Itís a Seraphim. An angel Ö with four faces Ö Those of a man, a lion, an eagle, and a bull. In the story, the angel descends from heaven and fathers four children with a mortal woman. Their offspring are the Nephilim Ė The "Fallen Ones." They have the souls of angels but they werenít meant to be. Theyíre deformed, tormented. So the Lord sends the Seraphim to Earth to bring back the souls of the Nephilim to keep the Devil from claiming them as his own.

SCULLY: How did he bring back their souls?

FATHER MCCUE: They were smote with the brightness of his countenance. To look upon the Seraphim in all his glory is to give up oneís soul to heaven.

SCULLY: Do you think thatís what I saw?

FATHER MCCUE: No. I think what you saw is a figment of your imagination. A half-remembered story from your childhood that surfaced because of this case.

SCULLY: But I saw it, Father.

FATHER MCCUE: Dana, the Nephilim is a story. The text in which it appears isnít even recognized by the Church.

SCULLY: Father, do you believe that Ö God has His reasons?

FATHER MCCUE: Yes, Iím certain of it. Itís how He rewards our faith.




SCENE 21
(Outside SCULLYíS church)

STARKEY: Agent Scully? I canít believe I found you.

SCULLY: What is it?

STARKEY: Agent Mulderís been trying to reach you. Heís been at the station.

SCULLY: Trying to reach me for what?

STARKEY: The fourth girl Ė sheís at Father Gregoryís church. Come on. Iíll drive you.




SCENE 22
(They arrive at FATHER GREGORYíS church. SCULLY enters. STARKEY stands in the doorway.)

SCULLY: Thereís no one here.

STARKEY: They must be on their way.

(SCULLY sees horns in STARKEYíS shadow.)

STARKEY: You donít see her in there? Sheís here. I know it.

(SCULLY goes to top of stairs. The door is locked. Coming back down, she sees someone under the stairs looking up at her.)

STARKEY: Agent Scully? Did you find her? Agent Scully?

(SCULLY opens door under stairs. ROBERTA, identical to other three girls, cowers in the corner.)

SCULLY: (to ROBERTA, quietly) My name is Dana. Iím going to get you out of there, okay? Iím not going to hurt you.

(SCULLY holds out her hand. ROBERTA cautiously takes it and allows SCULLY to help her out.)

SCULLY: Iím going to take you someplace safe.

(SCULLY begins walking ROBERTA to front of the church, not towards STARKEY.)

STARKEY: Where are you going? Where are you taking her?

SCULLY: Everythingís going to be fine.

(Bright flash of light from the front of the church startles SCULLY and ROBERTA.)

STARKEY: Bring her to me! Bring her here! Bring me the girl!

(ROBERTA begins moving toward the light. SCULLY tries to hold her back.)

SCULLY: No, itís okay. Itís all right. Stay here. Itís okay. Stay Ö Just stay here! Itís going to be okay.

STARKEY: Bring her out to me.

(SCULLY looks back towards STARKEY.)

EMILY: Mommy?

(SCULLY looks back to see that it is EMILYíS hand she is holding.)

EMILY: Mommy, let me go. Mommy, please let me go.

SCULLY: Emily.

STARKEY: Agent Scully, get her out of there!

EMILY: Mommy, please.

(SCULLY slowly releases EMILYíS hand and watches her walk into the light.)

SCULLY: Emily? Emily?! Oh, God.

(The light fades. ROBERTAíS dead body sits, hands raised in prayer, eyes burned. STARKEY is gone. SCULLY sits down on one of chairs.)

CUT TO:
(Confessional. Present.)

PRIEST: You believed you were releasing her soul to Heaven.

SCULLY: I felt sure of it.

PRIEST: But you still canít reconcile this belief with the physical fact of her death?

SCULLY: No. I thought I could, Father, but I canít.

PRIEST: Do you believe there is a life after this one?

SCULLY: Yes.

PRIEST: Are you sure?

(SCULLY tries to answer, but cannot.)

PRIEST: Has it occurred to you that maybe this, too, is part of what you were meant to understand?

SCULLY: You mean, accepting my loss?

PRIEST: Can you accept it?

SCULLY: Maybe thatís what faith is.

[THE END]



Return to the Scripts Page