Story Code '#9X11'
by Chris Carter
and Frank Spotnitz
|
'Providence' Story Code '#9X11' by Chris Carter and Frank Spotnitz |
|
SCENE 1 - MAKHAFAR AL BUSAYYAH, IRAQ, OPERATION DESERT STORM
JOSEPHO V.O.:
The bible says God appeared to Moses in a burning bush. He came to Jesus on a mountaintop. For Buddha, God came while he sat under a tree. God came to me in a vision in the desert February twenty-sixth, 1991.
(Gunfire rings out in the distance; American soldiers are being fired upon as they shelter behind the remains of a building. An INJURED SOLDIER is bleeding. JOSEPHO, currently Lieutenant Colonel Josepho, goes to help)
JOSEPHO V.O.:
My recon squad had engaged Saddam's army in a small Bedouin encampment. We'd been ambushed, taken all by surprise and there were casualties.
(JOSEPHO looks around him and notes that they are not winning this skirmish. He turns his attention to the INJURED SOLDIER in front of him when a voice from another soldier off to the side catches his attention)
SOLDIER #1:
My legs - I can't feel my legs.
JOSEPHO:
(To the INJURED SOLDIER) You're going to be okay, don't worry.
SOLDIER #1:
My legs...
JOSEPHO:
(To SOLDIER #2) Damn it! Get on the radio! We need some help here!
(The INJURED SOLDIER in front of him yells out in pain)
SOLDIER #2:
Zulu six two, we are under attack. Repeat: We are under attack. We are taking heavy machine-gun fire...
JOSEPHO V.O.:
We were holding our perimeter, and we might've held up but on this day, I had a terrible sense of foreboding and I saw the future of those brave men and they were about to die.
(From up above, a grenade blasts through the wall, killing almost everyone. JOSEPHO, lies injured on all the rubble).
JOSEPHO V.O.:
Death came to take my men... but not me. I was left as a witness to a vision.
(JOSEPHO is on his back amidst the rubble. He's covered with a thick layer of sand and dust from the blast. Blood drips from his eyes)
JOSEPHO V.O.:
Angels from heaven.
(From across the desert out of nowhere, four soldiers perfectly healthy briskly jog to where they are. JOSEPHO lifts his head, and sees bullets hit the men - they rush forward, take the hits, and disappear behind enemy lines. The gunfire ceases. JOSEPHO sees a bomb blast as it kills the enemy. He is still on the ground on his back in the rubble, blood running from his eyes. As the smoke clears, the four soldiers emerge unhurt and victorious)
JOSEPHO V.O.:
“Behold, a whirlwind came out of the north and a brightness was about it. And out of the midst came the likeness of four living creatures and they had the likeness of a man”.
(JOSEPHO remains behind as he sees the last of the four soldiers jog back into the desert where they first emerged from)
JOSEPHO V.O.:
I knew why my life had been spared. That I was to deliver the message of these angels. These sons of god.
SCENE 2 - THE PRESENT
(JOSEPHO has a look of wonder and amazement on his face. It is the same look he had when he watched the soldiers disappear back into the desert)
JOSEPHO V.O.:
To deliver the message of the god who came before all other gods.
(JOSEPHO is standing on the top of the fully uncovered newly excavated spaceship)
OPENING TITLES
SCENE 3 - FBI BUILDING
(FOLLMER is conducting a slide show at a briefing. A picture of WILLIAM is on the wall)
FOLLMER:
...At 7:00 this evening, in a Washington D.C. alley a vehicle carrying the son of Agent Dana Scully was forced to a violent stop by a female shooter who proceeded to kidnap the child at gunpoint.
(A slide of THE LONE GUNMEN'S smashed van. Meanwhile, in another office, the LONE GUNMEN are sitting at a workstation going through computer mug-shots trying to I.D. the OVERCOAT WOMAN who took WILLIAM. TOOTHPICK MAN is running the photo I.D. session. Three pictures into it, they see the woman. Though they recognise her, The LONE GUNMEN do not admit that it is her. FOLLMER, meanwhile, is continuing the slide show)
FOLLMER:
The van was being driven by three men asked by Agent Scully to protect the child. The three men are currently working to id the assailant. John Doggett was seriously injured by the same female shooter as he tried to halt her vehicle. Agent Doggett remains in a coma under close watch at St. Mary's Hospital.
(SKINNER is standing off to the side watching the proceedings. SCULLY is standing in the back of the room. Her arms are crossed. She looks very angry at what she's witnessing)
FOLLMER:
This kidnapping follows on the heels of a failed attack on Scully's child by another FBI agent, Robert Comer. He remains in critical condition also at St. Mary's.
(The picture of COMER appears on the wall behind FOLLMER)
FOLLMER:
Now, this man's motives and the motives of the female kidnapper are still unknown.
(At this point, SCULLY turns and walks out of the room)
FOLLMER:
Let me emphasise that the FBI has no reason to believe that it cannot affect the safe return of Agent Scully's child.
(Outside the hallway. SKINNER follows SCULLY)
SKINNER:
Agent Scully!
(SCULLY is already a good distance down the hall. Turning now, as SKINNER continues to walk toward her)
SKINNER:
(Gentler)What are you doing? I thought I told you you didn't need to be here.
SCULLY:
I just had to see this for myself.
(SKINNER is coming toward her now. SCULLY remaining where she is. SKINNER can see that she is upset, but he is misreading the cause of it)
SKINNER:
Go home.
SCULLY:
To what?
(SCULLY seems not only inconsolable, but somehow angry)
SKINNER:
I'm just saying, you don't need to put yourself through this, Dana. We've got every stop pulled; every available agent working to find your son.
SCULLY:
... And A.D. Brad Follmer leading the charge.
SKINNER:
Deputy Director Kersh asked him to take the lead. He knows how to run a task force. I think you see that in there.
SCULLY:
I see a man who withholds information for Kersh. A man who not once but twice failed to prevent an attack on my son. You see a task force in there. I see a whitewash.
(SCULLY'S anger flashes, directed at SKINNER as much as FOLLMER)
SKINNER:
I know you're upset but you can't possibly accuse Follmer or Kersh of having any part in this.
SCULLY:
What is it going to take for you? How many people have to be taken out for you to open your eyes to it? My son... Agent Doggett... Mulder.
SKINNER:
Kersh protected you by not telling you reports of Mulder's death. As did Follmer. As did I.
SCULLY:
You call it protection. I call it a systematic effort inside the FBI to eliminate us.
SKINNER:
You accuse anyone of anything in the FBI you have to accuse me along with them.
(SCULLY stares at him, then turns and walks off. SKINNER'S more worried about SCULLY than anything, as she gets to the elevator)
SKINNER:
Scully, where are you going?
SCULLY:
To find my son.
(SCULLY continues down the hall. She doesn't look back at SKINNER. There is no hesitation in her)
SCENE 4 - ST. MARY'S HOSPITAL
(REYES is standing by DOGGETT's bed holding his hands. SKINNER enters)
SKINNER:
(Whispers) Hi.
REYES:
Hi.
(REYES turns back to look at DOGGETT)
REYES:
His hands are so cold.
SKINNER:
Have you talked to the doctors yet?
REYES:
They say the good news is that there's no swelling of the brain but they were very frank that he could just never wake up.
(REYES is feeling very emotional)
REYES:
I wonder if he can hear us.
SKINNER:
There'd be soldiers in Vietnam... bodies turned inside out... I'd hold their hands just like you're doing. Tell them it was going to be okay.
REYES:
Do you think it helped? Talking to them?
SKINNER:
Well... I always thought it was like... like praying. Even if they can't hear maybe... God can.
(REYES considers his words and the comfort he is giving her. The telephone rings)
REYES:
(Into the phone) Hello.
SCULLY:
(From home) How's he doing?
REYES:
No change.
SCULLY:
I need to see you right away, Monica. Are you alone right now?
REYES:
Skinner's here with me.
SCULLY:
I'd prefer if Skinner didn't know.
SCENE 5 - SCULLY'S APARTMENT
(SCULLY opens the door)
SCULLY:
We found her.
REYES:
Who?
SCULLY:
The woman who took William.
(SCULLY shows REYES a photo printout of the OVERCOAT WOMAN. REYES takes the photo from SCULLY and walks into the apartment. SCULLY closes the door behind her)
SCULLY:
She's a wanted felon and a part of the UFO cult that the FBI was investigating. I need anything that you can find on her, Monica but I need you to get it quietly.
(LANGLY'S voice can be heard off to the side. SCULLY turns. THE LONE GUNMEN are at SCULLY'S kitchen table. They have a computer set up there and they are grouped around it. LANGLY'S at the keyboard, BYERS sitting to his right and FROHIKE standing to his left)
REYES:
If they I.D.ed the woman then why isn't the FBI investigating it?
SCULLY:
I asked them not to tell the FBI.
(REYES is concerned)
REYES:
What are you doing, Dana?
SCULLY:
I'm trying to get my son back.
FROHIKE:
We're locked on.
LANGLY:
Like there was ever a doubt.
BYERS:
Which beings us that much closer to finding William. Langly's inside the system.
(BYERS is hooking up a cell phone)
LANGLY:
I'm hacked inside the phone company. Going to use their mainframe to scan the map for a locator signal.
SCULLY:
Before William was kidnapped, Byers was able to tuck a cell phone under the padding of the baby's car seat.
FROHIKE:
Call the phone, and Langly can use the signal to find its location. Find the phone, find the baby.
REYES:
You mean, assuming the kidnapper hasn't found the phone.
(A ‘NO SIGNAL’ message emits from BYER'S phone)
BYERS:
We'll keep trying.
(SCULLY leaves the men to find her son's location. She moves into the living room and checks to see that her gun is loaded. REYES follows. She watches SCULLY and can't stay silent any longer)
REYES:
This is madness, and you know it. They failed you once with your child. They're going to fail you again.
SCULLY:
Then I'll find him myself.
REYES:
You can't do this alone.
(She turns to face REYES)
SCULLY:
Look, what alternative do I have... when the FBI is all but telling me they think that my son is already dead?
BYERS:
(Interrupting) We've got a signal... in Warfordsburg, Pennsylvania off the interstate.
SCULLY:
You coming with me? Or am I going alone?
(SCULLY walks away leaving REYES standing in the living room)
SCENE 6 - PENNSYLVANIA
(The phone that BYERS tucked into WILLIAM'S car-seat is buzzing. It's green cell light on and blinking. WILLAIM is awake.. The OVERCOAT WOMAN stops outside a phone booth)
SCENE 7 - EXCAVATION SITE
(JOSEPHO is watching two men trying to open the spaceship. Photographs are also being taken. JOSEPHO moves away to answer his phone. It is the OVERCOAT WOMAN)
JOSEPHO:
Have you got him?
OVERCOAT WOMAN :
Yes. He's safe. We're here.
JOSEPHO:
We need to go carefully now. I want you to stay where you are. I'm sending someone to get you, all right?
OVERCOAT WOMAN:
Yes.
(The top of the spacecraft begins moving, JOSEPHO turns quickly as does everyone)
CULT MAN #1:
It's moving! It's moving!
(JOSEPHO turns toward the ship as does all the others there. The ship continues to turn and rise. Lights from holes on the inside where the men stand shoot beams into the sky above. The two men look perplexed as the ship around them continues to move. JOSEPHO kneels to watch what happens. The two men are trapped inside it, JOSEPHO climbs onto the ship pounding on it)
JOSEPHO:
Can you hear me?! We need some tools. Go get some tools! Come on, move it!
SCENE 8 - WARFORDSBURG, PA
(REYES and SCULLY burst out of the car and run to the station wagon. SCULLY opens the driver door)
SCULLY:
Federal Agent!
(The car is empty. SCULLY slams the door closed and looks around, she can see the phone booths and thinks...)
SCENE 9 - ST. MARY'S, 10:47 AM
(REYES walks in and turns to a nurse)
REYES:
John Doggett... where is he? He's not in his bed.
(The NURSE looks at the papers in front of her)
NURSE:
They've taken him down to radiology to run a cat scan. Would you like me to call down to his doctor?
REYES:
No. No, I was just worried. I'm sorry.
(REYES turns away. She sees the overhead ‘CHAPEL’ sign and heads in that direction)
SCENE 10 - CHAPEL
(REYES enters the Chapel. She kneels at the altar, looking up, uncomfortably, at the Christ. She prays. FOLLMER enters and REYES stands)
REYES:
What?
FOLLMER:
Nothing.
(FOLLMER smiles. REYES walks toward him)
FOLLMER:
I've known you a long time and this just seems, uh... a little traditional for you.
REYES:
Maybe when you're lost you knock at the door with the porch light on.
FOLLMER:
Hey... hey...
(FOLLMER sees her distress and moves to hold her)
FOLLMER:
I want you to know, I'm doing all I can to find the woman who did this. Even though we got people inside the FBI working against us.
(REYES looks at FOLLMER, wondering about him clarifying himself on the same side as her)
FOLLMER:
It was foolish going after her by yourselves. We could have been there long before you, Monica. Could have even captured the suspect. Instead, she got away.
REYES:
This is complicated, Brad. If you came in here to bust me...
FOLLMER:
No. No. I came here to ask for your cooperation. Not sharing information creates an atmosphere of distrust and then I'm less apt to share my information with you.
REYES:
What haven't you shared with me?
FOLLMER:
This FBI agent who tried to kill Scully's baby has come around. He's got something he wants to tell us.
REYES:
What?
FOLLMER:
I need your cooperation.
SCENE 11 - HOSPITAL ROOM
(AGENT COMER is lying in the room. REYES and FOLLMER enter. He is unconscious)
REYES:
You said he tried to tell you something. How is that possible?
(FOLLMER pulls out the pad from under COMER'S left hand)
FOLLMER:
He didn't tell me exactly. He wrote it down.
REYES:
I don't know what this means.
FOLLMER:
I don't know, either. But it means something. And I want to know what.
(REYES is holding a piece of paper with the word ‘JACKET’ written on it)
SCENE 12 - AGENT SCULLY'S APARTMENT
(SCULLY'S holding the piece of paper with the word ‘JACKET’ on it. She faces REYES)
SCULLY:
Just tell me where you got this.
REYES:
You know what it means?
SCULLY:
Robert Comer wrote this, didn't he? The FBI Agent who tried to kill my son, and how did you get it?
REYES:
I got it under the condition that I share what I learn from you.
SCULLY:
Take it.
REYES:
What is it? What does it mean?
SCULLY:
If I don't tell you you're good on your word, right? That means that you've learned absolutely nothing from me.
(REYES takes the paper. SCULLY walks away)
REYES:
Where are you going?
SCULLY:
To the hospital.
REYES:
Hey, it doesn't work that way.
(SCULLY turns around to face REYES)
SCULLY:
Look, this began when the Agent lying in that hospital crashed his motorcycle running the border from Canada. Somehow, he got to Washington without a scratch and he tried to kill my son. Now, tell me, how did he do that, Monica? With something I found in his jacket pocket in a jacket that he wore to my house that I put three shots in.
REYES:
The artefact... piece of the ship.
SCENE 13 - MEDICAL CENTER
(SCULLY and REYES walk past the two FBI agents who are distracted by the NURSE. They enter COMER's room. SCULLY pulls the metal and puts it over COMER's heart. The heart monitor goes faster, COMER shakes. REYES is alarmed at this but COMER wakes. He grabs SCULLY's head and is trying to get the metal from her)
SCULLY:
Let go.
REYES:
My god.
SCULLY:
Let go of my hand. (To REYES) Turn off the monitors, or they're going to alert somebody.
(REYES shuts off the monitor. SCULLY reels back from COMER but the ventilation tube is preventing him from talking. SCULLY puts the metal in her pocket and goes to remove the tube. SCULLY leans in closer)
SCULLY:
Now, tell me who sent you to kill my son or I will take that pillow from under your head and make them the last breaths that you take.
COMER:
Your son has to die.
(SCULLY grabs COMER'S throat. REYES stops her)
COMER:
I'm not what you think. Please... please... the FBI sent me undercover on a man named Josepho to get inside his cult whose followers believe an alien race will rule the world.
(COMER gasps)
COMER:
One day god told Josepho to lead us a thousand miles north to find a ship buried in the ground. You have a piece of that ship in your hand. Josepho believes that that ship is a temple which houses the physical manifestation of god.
SCULLY:
Are you saying that god asked you to kill my child?
COMER:
No. Josepho said god spoke to him of a miracle child. A future saviour coveted by forces of good and evil. Josepho believes your son is this child.
SCULLY:
Then why does he want to kill him?
COMER:
He doesn't. He wants to protect him. Josepho believes your son will follow in his father's paths and try and stop the aliens' return. Unless his father was to be killed. That is the prophesy.
REYES:
You came here to kill her son against this man and his cult? To stop them? Are you saying you believe this prophesy but acted alone?
SCULLY:
What he's saying is that Mulder is dead. That that's true. That they killed him to fulfil this prophesy.
COMER:
And that your son must die, too. Or everyone... all of mankind will perish from earth. Please... please... let me.
(COMER reaches out to grab the piece of metal from SCULLY. She struggles with him)
COMER:
(Begging) Please. Please...
(They struggle for the metal piece. REYES stands by watching. They are interrupted when the NURSE with the FBI AGENTS and TOOTHPICK MAN enter the room. COMER has successfully gotten a hold of the metal piece. He holds it in his hands. SCULLY grabs the blanket and covers COMER'S hands and the metal piece)
NURSE:
What is going on here?
TOOTHPICK MAN:
What are you doing in here?
NURSE:
They turned off all the monitors. They removed his intubation.
TOOTHPICK MAN:
What are you doing in here?
SCULLY:
This patient does not need support. He's breathing on his own.
TOOTHPICK MAN:
Step outside. Both of you.
(REYES leaves. SCULLY looks back down at COMER)
TOOTHPICK MAN:
(To SCULLY) Let's go.
(SCULLY leaves without the piece of metal)
TOOTHPICK MAN:
(To the two agents) Get me A.D.s Follmer and Skinner.
(TOOTHPICK MAN is with the NURSE inside COMER'S room. He closes the door behind him. His eyes are on COMER, who turns to look at TOOTHPICK MAN)
SCENE 14 - EXCAVATION SITE
(JOSEPHO is sitting on top of the crux of the metal dome. He's using some kind of a tool to try to get the dome to open. He drops the tool in frustration)
JOSEPHO:
It's not working.
(Behind him, the OVERCOAT WOMAN enters, holding WILLIAM in a blanket. JOSEPHO turns and approaches)
JOSEPHO:
You weren't followed?
OVERCOAT WOMAN:
No.
JOSEPHO:
He's safe now. He's safe with us.
(The ship's dome opens and everyone runs over. JOSEPHO looks inside but isn't happy, neither is the OVERCOAT WOMAN. Both the men inside are burnt and the cult members look down at their dead friends)
SCENE 15 - COMER'S HOSPITAL ROOM
(FOLLMER and SKINNER rush in, and wade through tons of FBI agents to find TOOTHPICK MAN inside COMER's room with several medical people. SKINNER walks into the room. TOOTHPICK MAN comes out to speak with FOLLMER)
FOLLMER:
Where are Scully and Reyes?
TOOTHPICK MAN:
They were told to wait out here.
(SKINNER walks up to the bed. He looks down at COMER; he watches the medical personnel who don't seem to be doing a very much)
FOLLMER:
(To SKINNER) Assistant Director... we need Scully and Reyes. Now.
(SKINNER walks out of the room to look for SCULLY and REYES)
SCENE 16 - CHAPEL
(SCULLY and REYES enter the empty hospital chapel. SCULLY is panicking and she is upset)
SCULLY:
What are we going to tell them?
REYES:
Who?
SCULLY:
The FBI about Agent Comer. About what just happened. About how he
was healed.
(REYES is calm and a little confused over SCULLY'S behaviour)
REYES:
Just tell them the truth.
SCULLY:
They're not on our side. They will use the truth against us.
REYES:
Dana, you don't believe what you heard in there. You don't believe what that man was telling you.
SCULLY:
How can you doubt him? I mean, after everything that you've just witnessed. After what you saw with my son. I mean, it's-it's exactly what I feared. That there's something terribly wrong. From the very moment that he was conceived.
REYES:
Your child was a miracle, Dana. I don't doubt that the things I've witnessed are any less miraculous. But your son is not an abomination - a thing that should cease to exist. You tell me on that ship is written scripture from the world's great religions. Tell me a religion that decrees the death of a child. Not just your child but any child. This is a man saying these things to us. How many religions warn of false prophets? Men sent to deceive us? The only thing that I believe is that your son may still be alive and we can find him and save him. And with that object in that room we can save Agent Doggett, too.
(SKINNER enters the chapel)
SKINNER:
You two better get out here. Agent Comer's dead.
REYES:
What?!
(REYES looks shocked. She pushes past SKINNER, SCULLY follows)
SCENE 17 - COMER'S HOSPITAL ROOM
(REYES passes the FBI agents in the hallway and stops in front of COMER'S bed. COMER is dead)
REYES:
This man was alive. (To the NURSE) You saw him. (To FOLLMER) He was alive.
(REYES pushes aside the blanket but the metal is gone)
REYES:
Somebody was in here. Where did it go?
(The NURSE shakes her head. Everyone's looking at REYES)
FOLLMER:
Where did what go?
REYES:
This man had something in his hand. A small piece of metal. It's what revived him. I-it's why he could be taken off life support.
(SKINNER is standing by the doorway. He takes a deep breath and says nothing)
NURSE:
A piece of metal? I don't know what she's talking about.
(REYES walks to the NURSE and starts questioning her. )
REYES:
Who else came into this room?
NURSE:
Why are you questioning me?
REYES:
Did you leave the room?
FOLLMER:
(Interrupting) Agent Reyes...
REYES:
This woman came in here, and this man was alive. He was more than alive.
(REYES indicates COMER)
REYES:
He'd been healed. He'd been brought back to life. This man was murdered, but it wasn't by us.
FOLLMER:
Agent... Reyes.
REYES:
(Ignoring FOLLMER) Who else was in here? (To TOOTHPICK MAN) You were in here.
TOOTHPICK MAN:
I came in and found you.
REYES:
Were you alone in here? Was he alone in here?
TOOTHPICK MAN:
She went to get the doctors.
(SKINNER, standing by the doorway, turns his head and looks at TOOTHPICK MAN. He has an unreadable look on his face)
REYES:
Search this man.
TOOTHPICK MAN:
For what?
FOLLMER:
Monica!
REYES:
(To FOLLMER) Scully saw it. Ask Agent Scully.
(REYES leaves the hospital room to get SCULLY who is not in the hallway. SKINNER watches REYES)
REYES:
Agent Scully... Where's Scully? Agent Scully!
(REYES walks down the hallway. SKINNER looks, perhaps angrily, at TOOTHPICK MAN)
SCENE 18 - DOGGETT'S HOSPITAL ROOM
(SCULLY is sitting next to DOGGETT with her hands clasped. She is crying)
SCULLY:
I never meant for this. All that's been lost. I never meant to put you at risk - to risk losing you, too. She's fighting for you. Monica's out there trying to find a way. And she's not going to let you go.
DOGGETT:
Agent Scully.
(DOGGETT'S eyes are opened. )
SCULLY:
Agent Doggett. Oh...
DOGGETT:
I heard someone talking.
SCULLY:
Yeah, that was me. That was me talking to you.
DOGGETT:
No, it wasn't you. They're going to come to you, but you can't trust them. Do you understand that?
(REYES enters)
REYES:
Agent Scully.
(REYES sees that DOGGETT is awake)
REYES:
Oh, my god.
(SCULLY'S cell phone rings)
SCULLY:BR> (Into phone) Scully.
JOSEPHO:
Listen carefully, Agent Scully.
(JOSEPHO is at the excavation site. SCULLY listens silently on the cell phone as JOSEPHO speaks)
JOSEPHO:
You want to see your son? You come alone and you follow my instructions to the letter.
(REYES turns to look back over at SCULLY)
SCENE 19 - OUTSIDE CALGARY, CANADA, 2:42 AM
(SCULLY waits inside a diner. A car pulls up and JOSEPHO walks in. He sits down)
JOSEPHO:
Sorry to keep you waiting but I had to make sure you were alone. I only wish to protect the boy from those who'd harm him. He's a very special boy.
SCULLY:
I came here to take him back.
JOSEPHO:
“Behold, a whirlwind came out of the north and a brightness was about it. And out of the midst came the likeness of four living creatures. And they had the likeness of a man”. That's the bible. Did you know it?
SCULLY:
‘Ephesians’.
JOSEPHO:
The bible... describing giants who walk the earth. Who'd believe it? Only the faithful and we who have seen them. These... Super Soldiers. The true Sons of God.
SCULLY:
I want to see my son.
JOSEPHO:
You struggle to believe. It's so incredible but your son will lead this alien race. He was put here to lead. I'll bring you to him, to see your son. After you do something for me. After you bring something I need. Confirmation that Mulder's dead.
SCULLY:
You killed Mulder.
JOSEPHO:
No. I believed he was dead... but now I have reason to doubt that. And if he's alive he's the one thing preventing your son's true destiny.
SCULLY:
You told me I could see my son. You lied.
JOSEPHO:
If you want to see the boy... you'll bring me the head of Fox Mulder.
(JOSEPHO looks at SCULLY to show that he means it. JOSPEHO leaves. He walks outside and to his car. SCULLY pulls out her cell)
SCULLY:
(Over phone) Get ready, Monica.
REYES:
Hold on.
(They watch as JOSEPHO'S truck leaves the small diner's parking lot. The van door opens. It's FROHIKE)
FROHIKE:
His car is wired.
REYES:
(Over phone) Here we go.
(REYES gets out of the van. FROHIKE climbs into the van. BYERS is in the back. They watch. REYES and SCULLY move. They get into their rental and take off in pursuit of JOSEPHO)
SCENE 20 - SCULLY'S CAR/ LONE GUNMEN'S VAN
(REYES is on the phone)
REYES:
(To SCULLY) They say he's about a mile ahead, turning off the highway.
SCULLY:
What about these hills? Are we going to lose him in these hills?
(In the van, LANGLY is on the computer and FROHIKE is on the phone. We can see the triangle on screen representing JOSEPHO)
FROHIKE:
Yeah, yeah. How are we in terrain?
LANGLY:
That transponder will track this guy driving under water to Brazil.
(Message box pops up saying the Signal has been lost)
BYERS:
(Alarmed) Langly. What just happened?
(LANGLY hits some keys and hits the laptop keyboard in frustration)
REYES:
(On phone): We're coming to a turn. Is this it?
FROHIKE:
Uh... yeah. Turn.
(Back in the car, SCULLY makes the turn but REYES is concerned)
REYES:
I think they lost the signal.
SCULLY:
Well, they have to get it back.
LANGLY:
Piece of crap!
FROHIKE:
(Still on the phone) Hey, louder, why don't you?
BYERS:
(As calm as ever) Tell them we're working on it.
(FROHIKE'S hands the phone out to BYERS)
FROHIKE:
Here, you be the messenger.!!
(BYERS clearly doesn't want this job)
SCENE 21 - EXCAVATION SITE
(The spacecraft is humming and the ring of the dome is moving. The OVERCOAT WOMAN is holding a crying WILLIAM. She doesn't seem to know what to do. JOSEPHO comes in and approaches)
JOSEPHO:
What is it? What's happening?
OVERCOAT WOMAN:
The baby started crying... and it just came to life
(The light inside the spaceship gets brighter and brighter. The cult members continue to stare at the spacecraft)
SCENE 22 - OUTSIDE THE EXCAVATION TENT
(SCULLY stops the car. They get out and there is nowhere to go. REYES is still on the phone to FROHIKE)
REYES:
Hey, guys, we lost him. And we just ran out of road out here.
SCULLY:
William?
(In the distance, she sees the top of the excavation tent)
SCULLY:
William!
( SCULLY starts to run toward the tent. Inside the tent, WILLIAM is crying. JOSEPHO and the OVERCOAT WOMAN watch, not knowing what will happen next. The centre of the ship begins depressing and JOSEPHO moves in closer. The ship starts to shake and the people around it shake too. JOSEPHO climbs in closer. The lights go out and a really powerful beam erupts from the centre, hitting JOSEPHO. The OVERCOAT WOMAN, holding WILLIAM is in awe of this. All the lights power up and it is extremely bright. As the ship shakes violently, the light beam expands. The followers standing on the ship stay there and we hear WILLIAM's cries above all the noises. Outside, SCULLY gets closer and can hear the noises)
SCULLY:
William!
(Inside, the light bursts through the tent covering and SCULLY and REYES, appearing at the top of the hill see the spacecraft emerge from the tent. It disappears in the distance and, while REYES stands awestruck looking at the ship, SCULLY screams out as the burning tent collapses)
SCULLY:
No...
(Without further ado, SCULLY runs to the tent flap and searches for WILLIAM. REYES is not far behind)
SCULLY:
Oh, my god.
(In the centre of the tent there is a gaping hole. Burnt bodies cover the ground. SCULLY heads for the hole in the centre)
REYES:
Dana...
(SCULLY is almost crying, REYES is unsure what to do. All seems lost until they hear WILLIAM's cries. REYES runs to the centre of the crater)
SCULLY:
Oh, my...William?
(SCULLY picks up WILLIAM, who is not hurt at all. She kisses his forehead, holding him close and crying)
SCENE 23 - CHAPEL
(REYES enters and takes a seat next to DOGGETT who is in the chapel)
REYES:
I came to give you a ride home. They told me you were in here.
DOGGETT:
Yeah.
REYES:
I came in here and prayed for you.
DOGGETT:
Yeah, I know. This voice in my head, it was... it was talking to me telling me to get up... telling me to warn Scully about this man. I mean... was it you talking to me?
REYES:
I only prayed for your life.
SCENE 24 - FBI HEADQUARTERS, WASHINGTON D.C.
(KERSH is walking towards his office carrying an unmarked folder. FOLLMER appears and gets KERSH's attention)
FOLLMER:
Uh, Deputy Director?
KERSH:
Mister Follmer.
FOLLMER:
Sir, it's, um... it's about that report you have there. The investigation of Special Agent Robert Comer's death.
KERSH:
Yes?
FOLLMER:
As you know, A.D. Skinner refused to sign it believing that Agent Comer was murdered in his hospital bed.
KERSH:
But you did sign it, isn't that right, Mister Follmer? Finding nothing to support that allegation.
(FOLLMER walks into the outer office)
FOLLMER:
Well... that's just it, sir. I did find something. The monitors in Agent Comer's room they recorded his condition moment by moment... showing that his vital signs did improve just before his equipment was unplugged. They did, in fact... return back to normal.
KERSH:
And you have an explanation for that, yes?
FOLLMER:
No, sir, I don't.
KERSH:
And you want what?
FOLLMER:
I just want to take my name off it.
KERSH:
Maybe if you weren't so busy back-pedalling, Mister Follmer, you might get me an explanation. Excuse me.
(KERSH leaves the stunned FOLLMER and heads to his office, closing his door behind him)
KERSH:
I'm sure you heard all of that.
(The TOOTHPICK MAN is inside KERSH's office)
KERSH:
Congratulations - it would appear now that everything is dead but this case.
(KERSH hands the folder to TOOTHPICK MAN who opens it. It is an X-File folder. TOOTHPICK MAN looks up confidently at KERSH)
TOOTHPICK MAN:
I'm sure I can take care of that, Deputy Director. Quite sure.
(KERSH doesn't seem to happy. We see the back of the TOOTHPICK MAN's neck, and we see the bumps on his neck indicating he, too, is a supersoldier)
[THE END]
Gillian Anderson (Special Agent Dana Scully), Robert Patrick (Special Agent John Doggett), Mitch Pileggi (A.D Skinner), Annabeth Gish (Special Agent Monica Reyes),
Tom Braidwood (Frohike), Cary Elwes (AD Brad Follmer), Dean Haglund (Langly), Bruce Harwood (Byers), James Pickens Jr (A.D. Kersh), Alan Dale (Toothpick Man), Denis Forest (Josepho), Christian Hastings (Soldier 2), Brad Kalas (Cult Man), Kerrie Keane (Nurse), Kevin McCorkle (Cult Man 2), Neal McDonough (Agent Robert Comer), Jamie McShane (Injured Soldier), Brian Morri (Soldier 1), James Riker (William Scully), Travis Riker (William Scully), McNally Sagal (Overcoat Woman)
Directed by Chris Carter
TX:
US TX - 10th March 2002
Notes:
*Featuring Special Special Agent Dana Scully, Special Agent John Doggett, Special Agent Monica Reyes, A.D. Walter Skinner and the Lone Gunmen
*’ Providence’ is defined as ‘foresight, care, or preparation beforehand’
*During the credits sequence there is a flash-frame of a document containing the names of many online X-Philes and some anagrams of ‘X-Files’ characters (e.g. ‘Deform Lux’ is Fox Mulder) under the heading ‘FBI Contacts, Witnesses and Contributors’:
