The X-Files - 1.

US Airdate: October 1, 1993

writers: Alex Gansa & Howard Gordon

director: Daniel Sackheim

are sleeping in their sleeping bags outside a camper van, beside a lake.

Inside the van sleeps the mother, and all is quiet. We see there is a

bag of shells on a table, the tap is dripping and a cup of coffee sits

on the table also. Suddenly the cup starts shaking, the mother wakes

up as we see it's the whole van that is shaking. She falls out of her bunk

and hits the floor hard, a cupboard opens and all the plates and cups

shake off the shelf. A bright light is coming in through the windows,

the woman is sitting on the floor backed against a wall and screaming.

As suddenly as the shaking started, it stops)

DARLENE MORRIS: Kids!

KEVIN MORRIS: MOM! MOM!

DARLENE MORRIS: Kevin!

KEVIN MORRIS: MOM! (The woman crawls towards the door of the

camper and as she puts her hand on the handle, she burns her hand)

MOM! MOM! (The woman looks around and finds an oven glove which

she puts on) MOM! MOM! MOM! (As the woman opens the door,

her son, Kevin, is standing at the bottom of the steps in front of the door)

MOM! Ruby's gone.

(The woman comes out of the camper and takes Kevin's hand)

DARLENE MORRIS: Ruby! RUBY! (The woman runs to both sides of

the camper calling out her daughter's name) RUBY! RUBY!

(The woman stops and looks straight up into the night sky) RUBY!

<- FBI HEADQUARTERS. WASHINGTON, D.C.. ->

(We see the outside of the building and then we see Scully in Section

Chief Scott Blevins' office. He hands Scully a green file)

BLEVINS: Agent Mulder's latest 3-0-2, requesting assignment and travel

expenses for the both of you.

SCULLY: Sioux City, Iowa. That's the first I've heard of it.

BLEVINS: It came up through channels, from Mulder's Asat,

to the district G-14 and onto my desk.

SCULLY: I don't understand.

(Inside the file, attached to the 3-0-2, is an article cut out from a paper

with the headline `TEEN TAKEN FROM TENT BY ALIENS')

BLEVINS: In essence, Mulder is petitioning the bureau to assign a case

number to a tabloid headline.

SCULLY: He must have more evidence than..

BLEVINS: Not according to his 3-0-2, he doesn't.

SCULLY: I admit, that is strange. Even for Mulder.

(Blevins gets up and takes a file out of a filing cabinet)

BLEVINS: Perhaps, it has something to do with this, take a look.

(He walks in front of the desk and gives the file to Scully)

SCULLY: An X-File.

(Scully opens the file and inside we see the following information:)

Name Samantha T. Mulder

Address 2790 Vine Street

City Chilmarc, Mass.

Place of Birth Chilmarc, Mass.

Date of Birth January 22, 1964

Nationality American

(Below is a picture of a young girl. More information reads as:)

Remarks: Name and address of nearest relative notified in case of

emergency.

Fox Mulder (brother)

c/o F.B.I.

Washington Bureau

(There is also a signature below)

(Scully sits down)

BLEVINS: Has he shared any of this with you? There's no need to

protect him, he's the agent of record, he initiated the file himself.

SCULLY: She was his sister, she disappeared twenty-one years ago,

he was, twelve and she was eight. He claims that he was in the room

when it happened. He recalls a, bright light outside the window and er,

and a presence in the room.

BLEVINS: In your opinion, has Agent Mulder's personal agenda clouded

his professional judgement?

SCULLY: In my opinion, no.

BLEVINS: But you can see, how it might appear that way. (Blevins

goes behind his desk and sits down) As you know, Agent Mulder's

pre-occupation with fringe matters has been a big source of friction

in the bureau, this is another case in point. I'm gonna disallow the 3-0-2.

SCULLY: With respect sir, at least let me talk with him, and make a

recommendation.

<- X-FILES OFFICE ->

(Scully is pacing talking to Mulder, who is sitting at a desk)

SCULLY: It just doesn't seem, substantial enough to warrant an

investigation.

MULDER: Ok Scully, so we disagree, it's not the first time and it

won't be the last.

SCULLY: Well, at least if we had a legitimate source, we could..

MULDER: This is the essence of science, you ask an impertinent

question and you're on your way to a pertinent answer.

SCULLY: But what makes this case anymore credible, than...

(Scully lifts a copy of National Comet, from were the article attached

to Mulder's 3-0-2 was taken, off Mulder's desk and reads another cover

feature)...the hundred year old mother with the lizard baby?

MULDER: Because, the lizard baby, wasn't born anywhere near Lake

Okobogee.

SCULLY: Oko-what?

MULDER: Bogee. (Mulders get up and talks right into Scully's face)

Okobogee.

SCULLY: Is that supposed to mean something to me?

(Mulder turns off the lights)

MULDER: If you know anything about trout fishing, or UFO hotspots.

SCULLY: Define hotspot.

(Mulder turns on a slide projector and we see a UFO on a projection screen)

MULDER: Four sightings in 1967, August, including one by a national

weather service plane. (Mulder clicks to a bigger picture of the UFO)

This is a light blasted, digitally enhanced enlargement.

SCULLY: The pilot took that photograph?

MULDER: Try a girl scout with an instamatic. Four of the nine girls in

the troupe claim to have seen something, five if you include the den mother.

The Air Force said it was a weather balloon caught in a wind sheer.

But there wasn't a weather balloon launched that day within seven

hundred miles. (Mulder turns off the slide projector and gets a file which

he gives to Scully) Now read me the names of those girl scouts from 1967.

(Mulder turns on an overhead projector and walks off out of sight)

SCULLY: Lisa Tyrell, Bonnie Winston, Dorreen McAllister,

Darlene Mor...

(Mulder attached to his 3-0-2)

MULDER: It's the same Darlene Morris.

<- SIOUX CITY, IOWA ->

(Mulder and Scully pull up to a house in a car, they get out and approach

the house. Mulder knocks on the door)

SCULLY: Miss Darlene Morris? (Scully shows her ID) I'm Agent Scully

and this is Agent Fox Mulder, we talked with you on the phone last night.

DARLENE MORRIS: Er, please come in. (They enter the house) Well,

I knew that if I screamed, loud and long enough that, someone would listen.

But I never expected the FBI. Er, this is Kevin. Kevin, say "hi".

(Kevin is sitting at a table in the next room) Would you like some coffee?

SCULLY: Hmmm.

(Darlene walks off to the kitchen, Scully walks towards the next room

when she looks behind her at Mulder. Mulder is looking at some of

the pictures on the mantel, pictures showing Ruby. Mulder touches

a photo of Ruby as a young girl)

(Darlene, Scully and Mulder are sitting in the kitchen)

DARLENE MORRIS: Some days I can't even, get myself up out of bed.

And, Kevin has been acting so strange, er, I don't know what to do anymore.

I, I just, want her back again.

SCULLY: Miss Morris, during the divorce, was there a custody battle?

DARLENE MORRIS: Charles had nothing to do with this.

SCULLY: How can you be so sure?

DARLENE MORRIS: Because I know what happened.

It's just like it was before.

MULDER: Summer of 1967, the girl scout troupe?

DARLENE MORRIS: How did you know about that?

MULDER: Your name's on record at the center for UFO studies in

Evanston, Illinois.

DARLENE MORRIS: Really?

MULDER: Yea, pilot for the national weather service made a similar

sighting over the same area on the same day.

DARLENE MORRIS: They took her didn't they Mr. Mulder?

(There is a long pause)

MULDER: You, you said that erm, Kevin was there, the night it happened.

DARLENE MORRIS: He didn't see anything, he was asleep.

MULDER: Do you think I might talk to him anyway?

(Darlene nods her head) Thanks.

(Mulder gets up and walks away)

DARLENE MORRIS: You know, I've told this story so many times now,

oh to the newspapers and the police. And everytime I tell it, people get

this, look in their eye, just like the look that you've got right now.

(Kevin is sitting in front of a TV which is untuned to any channel)

MULDER: Hey buddy! Mind if I sit down? (Kevin shrugs his shoulders)

Thanks. (Mulder sits on the end of a coffee table) Your mom tells me

you've been having nightmares.

KEVIN MORRIS: I guess so.

MULDER: Wanna tell me about `em?

KEVIN MORRIS: No.

MULDER: Alright. (Mulder notices Kevin is writing on a pad)

Whatta you doing? (Kevin turns round to look at Mulder and then

turns back to his pad and continues writing) Are you making something?

(Kevin nods his head) Can I take a look at it? (Kevin lifts his pad and

passes it to Mulder) Thanks.

(When Mulder looks at the pad all he sees are ones and zeroes written

continously down the page)

(Kevin points towards the tv)

KEVIN MORRIS: It's coming from there.

MULDER: The TV?

(Kevin stops pointing at the tv and nods his head)

<- SIOUX CITY SHERIFF'S DEPARTMENT ->

(A fax is being sent out on headed paper. The information on it reads:)

Date: AUG 26

From: FOX MULDER

To: DANIEL BERNSTEIN

Reporting To: CRYPTOGRAPHY SECTION, F.B.I. WASH. D.C.

(Mulder is talking on a phone, Scully is in the Sheriff's office talking to

the Sheriff)

MULDER: I don't know what it is, maybe a binary sequence of some kind.

Could be anything, could be nothing. I know you're busy, look erm,

I know a friend who knows a friend who knows a friend who-oo can

get you tickets to a Redskins game. You got it. Alright, you know

where to find me? Thanks, Danny.

(Inside the Sheriff's office, the Sheriff walks around to sit behind his desk)

SIOUX CITY SHERIFF: So, as I was telling your partner, we found no

evidence of kidnap, no phone call, no ransom note, and since we didn't

turn up a body....

MULDER: You assume she ran away.

SHERIFF: Well, it wouldn't be the first time Ruby Morris ran away from home.

MULDER: Well, how do you explain what her mother saw?

SHERIFF: Well I think that Darlene has a very active imagination.

I've been listening to those stories since the first grade.

MULDER: So basically you ignored her statement.

SHERIFF: I included it in my report.

MULDER: But you didn't bother to check it out.

SHERIFF: We went out to the camp site, we didn't find anything.

Let me tell you something, Darlene's little girl was no prom queen.

I can't count the number of times I pulled her out of parked cars,

or found her puking her guts out by the side of the road,

it was just a matter of time before...

MULDER: Before what?

SHERIFF: Before something bad happened to her and if Darlene needs

to make up crazy stories to get past that, fine. But don't tell me to treat

it as the truth, I'm not gonna waste my time.

(Mulder and Scully leave the building)

SCULLY: I just think it's a good idea not to antagonise local law enforcement.

MULDER: Who me? I'm Mr. Congeniality.

SCULLY: You never know, we might need his help one of these days.

MULDER: I'll send him a bundt cake.

(As Mulder walks around the driver's side of their car, he notices a

piece of paper stuck under the window wiper. He takes it and opens it,

it reads `I'M ACROSS THE STREET FOLLOW ME'. Mulder hands

the note to Scully, who after reading it looks around to see who left

the note. They see a girl across the street, and when she sees that

Mulder and Scully have noticed her, she walks away. Mulder and Scully

follow her into a library)

(As they enter the library, they look up each of the aisles until they find

the girl standing at the end of one. As they approach, the girl moves

into the next aisle and talks to Mulder and Scully through the books)

TESSA: You're looking for Ruby, right?

SCULLY: That's right. Who are you?

TESSA: Doesn't matter.

SCULLY: Are you a friend of Ruby's?

TESSA: Ruby didn't have friends, she just had people she liked to hang with.

SCULLY: And she liked to hang out with you?

TESSA: Guess we had some times.

MULDER: Like the night she disappeared?

TESSA: It was Greg, she was supposed to see him that night.

MULDER: Who's Greg?

TESSA: Her boyfriend, Greg Randall. Supposed to meet up at the lake.

Had stuff to talk about.

MULDER: What kind of stuff?

TESSA: Greg got Ruby pregnant. I don't know, whatever, she got

herself pregnant.

SCULLY: Do you know what they were planning to do about it?

TESSA: Gonna leave town, least that's what Ruby told me.

SCULLY: You know Greg from School?

TESSA: Greg, school, I don't think so. All he ever did since we met

him was pour beer, The Pennyslvania Pub.

(A woman knocks some books off a shelf, Mulder and Scully turn to see

what the noise was but when they turn back to talk to Tessa, she's gone.

They look in the next aisle but she's gone)

<- THE PENNSYLVANIA PUB ->

(Outside the pub is a lot of parked motorbikes, inside most people are

wearing leather jackets. Mulder and Scully make their way across the

floor to the bar. A comment is made about Scully, refering to her as

a "real" girl)

MULDER: 'Scuse me. Do you know where we could find Greg Randall?

BARTENDER: Who's asking? (Mulder takes out and shows his ID)

What kind of trouble's he got himself into now?

MULDER: Actually, we were hoping you could tell us.

BARTENDER: Greg called in sick about three weeks ago, man,

I haven't seen or heard from him since.

MULDER: Any ideas where he might have gone?

BARTENDER: No, but if you find him, you tell him he's fired.

SCULLY: This is the motel we'll be staying at if you hear of anything.

(Scully gives the bartender a card with the details of where they are staying.

The bartender looks at it and puts it in his waistcoat pocket. As they

are about to leave, Mulder notices a tattoo on the bartender's arm)

MULDER: Hey, that's a nice tattoo, what is that?

BARTENDER: What's it look like?

MULDER: Flying saucer. You don't really believe in that stuff, do ya?

BARTENDER: I take it you don't.

MULDER: No, I think it's all just a bunch of crazy people howling at

the moon.

BARTENDER: So er, you haven't been out to Lake Okobogie, have ya?

MULDER: No I haven't, why?

BARTENDER: You should ride with us sometime, you might see some

things that'll change your mind. (The bartender pulls back his hair to

show his ear. It looks like the skin has been badly burned)

Get a killer sunburn in the middle of the night.

<- STAY 'N SAVE MOTOR INN. 5:30 A. M. ->

(Scully is sleeping in her room, shadows move across her body.

When she wakens she sees figures standing outside her door

and she hears whispers)

VOICE 1: Yeah.

VOICE 2: ..downstairs.

VOICE 3: Alright.

(Scully sits up in bed watching the figures outside her door. The door

handle is turned but it is locked. Scully sees her gun on a dresser on

the other side of the room and gets out of bed to get it. As she puts her

hand on it, the door is busted open and a man shines a light in her face)

FOURTH MAN: Where's Mulder?

(A man, Holtzman, and the man who initially bust into Scully's room,

are now in Mulder's room. Mulder is sitting on the edge of his bed)

HOLTZMAN: Where did you get the document?

MULDER: Well, if you explain to me what you're talking about, maybe

I can help you out. (The fourth man hands a sheet of paper to Mulder)

This is a document? Just looks like a bunch of ones and zeroes to me.

HOLTZMAN: Tell me where you got it.

MULDER: Tell me what it is.

HOLTZMAN: Keep playing games Mulder, I'll haul your ass up in front

of the D6. You can explain to them, what you're doing obstructing justice.

(Mulder gives the sheet of paper to Holtzman)

MULDER: It's your call Holtzman. So unless they tell me otherwise,

I'm not accountable to anybody outside my sub-committee. I don't

care if it's the NSA or the Vatican Police.

(Mulder puts walks to a chair and lifts his shirt, which he puts on)

HOLTZMAN: It's a defence satellite transmission.

MULDER: You're kidding.

HOLTZMAN: Just a fragment but highly classified, we need to know

where it came from.

MULDER: Well sure, I'll let you know as soon as I find out.

(A ringing noise is heard, and the fourth man lifts his cellular phone)

HOLTZMAN: That's it Mulder, you just bought yourself a oneway back

to Washington.

(Mulder and Holtzman wait to find out the outcome of the call)

FOURTH MAN: We got it.

(The fourth man and Holtzman leave Mulder's room)

MULDER: Great.

(Scully enters)

SCULLY: What?

MULDER: You shouldn't have told them. They have no jurisdiction.

SCULLY: Mulder, they're NSA. (Mulder puts on his jacket) They think

the boy may be a threat to national security.

MULDER: C'mon, how could an eight year old boy, who can barely

multiply, be a threat to national security? People call me paranoid.

SCULLY: Well how did Kevin obtain top secret information?

And, where do you think he got it from?

(Mulder walks past Scully and out of the room)

<- DARLENE MORRIS' HOUSE. KEVIN'S ROOM ->

(A group of men can be seen filling boxes with Kevin's stuff. The fourth

man is flicking through Kevin's books and then dropping them on the

floor when he doesn't find what he is looking for. Kevin's drawings

are ripped off the wall)

(Outside the house, Mulder and Scully have arrived. They walk up to

the front of the house, all the neighbours are gathered around the house

to try and find out what's going on)

AGENT: Watch your step, ma'm.

(Two men are escorting Darlene and Kevin out of the house,

past Mulder and Scully and to waiting cars)

DARLENE MORRIS: It'll be ok baby, don't worry. It'll be ok.

SECOND AGENT: Come with me, son.

(One agent takes Darlene to one car while the other agent takes

Kevin to another car)

KEVIN MORRIS: MOOOMMMM!

SECOND AGENT: Get in the car please.

(Kevin is put into the back of a car)

DARLENE MORRIS: It'll be alright baby.

AGENT: Watch your head please.

(Darlene is put into the back of the other car. Mulder approaches the

car that Darlene is in and looks in the window. It is too dark to see

inside, both cars drive off. Mulder and Scully enter the house)

(A set of papers containing binary codes is lifted out of a drawer by

Holtzman, who flicks through them before nodding his head.

Mulder enters the room and lifts up a broken piggy bank and puts

in on a dresser)

MULDER: You guys do really delicate work.

HOLTZMAN: Let's get this to cryptography. (Holtzman gives the papers

to the fourth man and walks past Mulder, then Scully and out of the room,

followed by the other agents) I think we got what we needed, thank you.

(Mulder pulls back the curtain and looks out the window. Noticing Mulder

is looking at something in particular, Scully comes over to the window)

SCULLY: What is it?

MULDER: I'm not sure.

(Mulder walks away and Scully continues to look out the window,

she sees the top of the camper van is black)

(Mulder sets a pair of ladders against the van and climbs up, Scully

is watching him from the window. Mulder scrapes and takes a piece

of the burned roof of the camper in his fingers, and crumples it into ash.

He smells it before flicking it from his hands)

<- FBI REGIONAL HEADQUARTERS. SIOUX CITY, IOWA ->

(Mulder and Scully are talking to another agent)

LEZA ATSUMI: We scanned all seventy-seven pages through the

mainframe in Washington.

SCULLY: And none of the information is actionable?

LEZA ATSUMI: Other than the satellite transmission, nothing can be

construed, in any way, as a national security risk. As far as I know,

the boy's being released this afternoon.

SCULLY: So it's just a random set of ones and zeroes.

LEZA ATSUMI: On the contrary, there was nothing random about it.

SCULLY: I don't understand.

LEZA ATSUMI: All information can be rendered digitally, (Agent Leza

Atsumi sits down at her computer) in a series of ones and zeroes.

When we downloaded the data, we found an amazing range of...

(Leza types in a command on the computer, the screen shows a binary

sequence and in the center of the screen is a message reading: CMMD:

DNLD.CURRENT FILE) Well see for yourself. (A part of a picture comes up)

Da Vinci's "Universal Man". (The screen reverts back to binary, Leza types

in another command and up comes a rotating object) A DNA double helix.

Oh, there's lots more. (Leza types in another command and up comes a

soundwave bar and as a line travels across the bar, a piece of music is heard)

SCULLY: That's from the Brandenburg concertoes.

LEZA ATSUMI: But they're just fragments, a few notes here,

a few notes there. Some lines from the Karanish Experience Sonnet.

MULDER: Almost like someone's switching channels, huh.

(Mulder looks at Leza and then at Scully but no one has an answer)

(An agent escorts Darlene and Kevin out of Holding Area 107, and then

lets them go. Darlene walks passed Mulder and Scully, ignoring them)

MULDER: Mrs. Morris.

DARLENE MORRIS: I have nothing to say to you.

(Mulder chases after Darlene touching her arm)

MULDER: Mrs. Morris, please give me a minute to explain.

(Darlene stops and turns round, then she bends down and talks to Kevin)

DARLENE MORRIS: Would you please just wait right over there for

momma, I'll be right there. (Kevin looks up at Mulder and then walks

to where Darlene asked him to wait. Darlene stands up and faces

Mulder and Scully again) I thought you were both supposed to be here,

to help us.

SCULLY: This has been a terrible mistake. And I assure you that the

government will pay for all repairs and damages.

DARLENE MORRIS: I don't want your money, I want my daughter back.

And I want you to leave us alone.

MULDER: But your son, has seen something.

DARLENE MORRIS: You stay away from me, and you stay away from

my child. (Darlene walks away, Kevin is staring up at the security monitors)

C'mon honey, it's ok, let's, let's go now.

<- EXIT 68. SIOUX CITY DOWNTOWN ->

(Mulder and Scully are driving along the road)

SCULLY: I thought we were headed back into town. (Mulder shakes his

head slightly) Where are we going?

MULDER: The boy's the key Scully, I know it.

SCULLY: The key to what?

MULDER: Finding Ruby. Just think about it for a minute, this is a boy

who is receiving all kinds of digitised data from a television screen.

SCULLY: Agent Atsumi said it was a statistical aberration.

(Mulder shakes his head again)

MULDER: No.

SCULLY: Ok, I admit it, it's not much of an explanation but it..

MULDER: I think that Kevin is a conduit, of some kind.

SCULLY: A conduit.

MULDER: A link, or a connection, to whoever, or whatever,

took Ruby that night.

SCULLY: But how?

MULDER: If there was an abduction, it's likely that Kevin was touched

in some way.

(There is a brief pause)

SCULLY: Mulder I know what you're thinking. I know why this is so

important to you. (Mulder looks at Scully) I know. But there is no

evidence indicating an abduction.

MULDER: That's why we're going to Lake Okobogee.

<- LAKE OKOBOGEE, IOWA. CAMPSITE 53 ->

(Scully is looking at the campfire, the sound of seagulls can be heard in

the background. Scully stands up and Mulder walks by)

MULDER: According to the police photos, Ruby and Kevin were sleeping

right here.

(Mulder walks towards the waterfront)

SCULLY: Just a stones throw from the forest wall.

MULDER: Meaning what?

SCULLY: Meaning anybody could've come out of the forest to grab her.

MULDER: Have you noticed the tree line? (Mulder points up to the trees,

the leaves and burnt away from the tops and only the thin trunk remains)

Evidence of extreme heat.

SCULLY: Or an electrical storm. (Mulder is looking through some

shells on the waterfront) Besides which, there's nothing to connect

it to the night of Ruby's disappearance.

(Mulder lifts up a piece of glass)

MULDER: That's true. (Mulder is cleaning the sand off the glass)

Do you think a lightning strike could've caused this? (Mulder walks

towards Scully with the piece of glass) Do you have any idea at what

temperature sand solidifies into glass? (He gives it to Scully, who

rubs the hardened sand on it) Twenty-five hundred degrees fahrenheit.

Something was out here Scully, something hot enough to turn sand

into glass, that, singed those trees and to blister the roof of that camper.

(Mulder walks back towards the waterfront, and Scully looks around the area.

As she is about to turn towards Mulder, she hears a noise and then sees

a white wolf. She quietly calls to Mulder)

SCULLY: Mulder, look.

(Mulder walks up beside Scully. After a few moments, the wolf heads

off into the forest, Mulder hands some papers to Scully and then follows

the wolf. Mulder runs into the forest and stops when he sees a pack

of wolves crowding around a group of stones. Mulder takes out his

gun and fires a shot into the air, the wolves scatter off into the forest.

Mulder advances towards the stones, Scully comes running to where

she heard the gunshot. She stops when she sees Mulder)

SCULLY: What is it?

MULDER: It's a grave. Shallow, by the smell of it.

(Mulder starts removing the stones)

SCULLY: Mulder what are you doing? (Mulder continues to move the

stones) Mulder, you are disturbing a crime scene. (Mulder is still

moving the stones, Scully grabs Mulder's arm) Stop.

(Mulder turns to face Scully)

MULDER: What if it's her? I need to know.

(A police officer is sectioning off the area with police tape, the county

coroner is at the grave and a man documenting the scene with

photographs, as well as people from the hospital morgue. There are

also several police officers around the area. Mulder and Scully stand watching)

SCULLY: You okay, Mulder?

MULDER: Fine.

(We see a man lying in the grave)

CORONER: Looks like a male caucasian.

(The Sheriff is standing shaking his head)

M. E. WORKER: Sir.

(The M. E. Worker hands the Sheriff the man's wallet. The Sheriff,

while wearing surgical gloves, opens the wallet and takes out the man's ID)

SIOUX CITY SHERIFF: Victim's name was Greg Randall.

SCULLY: Ruby's boyfriend.

SHERIFF: Ruby had a lot of boyfriends.

MULDER: Before you put that away, can I take a look at it?

SHERIFF: Go right ahead.

(Mulder lifts a pair of gloves out of a case, puts them on and takes

the wallet. He flicks through the wallet, there is a lot of money in the

back as well as a piece of paper that Mulder takes out. On the paper

is a note reading "DR. JACK FOWLER AUG. 7 - 2:30". Mulder looks

at Scully who has also seen the note)

<- SHERIFF'S OFFICE ->

(An enlarged photocopy of the note comes out of a photocopier, which

Mulder lifts and brings over to a desk. He switches on a desklamp and

places the photocopy beside the note that Tessa left on Mulder and

Scully's car. As Mulder and Scully study the pages, the Sherrif looks on.

Mulder places the original note on the photocopy so that the word

FOLLOW sits beside the FO of Fowler)

SCULLY: Look at that, it's her, the girl from the library.

SHERIFF: Who?

SCULLY: We didn't get her name but she claimed Greg and Ruby had

run off together.

SHERIFF: Well, Doc Fowler's a buddy of mine, delivered both my kids.

I could find out who had that appointment.

(Two police officers are escorting Tessa down a corridor in the police station.

She is escorted into a room, a table and some chairs can be seen through

the door)

SCULLY: Have a seat Tessa. (Tessa sits down and the door is shut.

The letters on the door read "INTERROGATION ROOM". Inside the

room on the table, sits a tape recorder which is recording. Scully sits

down opposite Tessa) We know that you lied to us the other day.

We know that you had the appointment with Doctor Fowler on August 7th.

We know that you're the one that's pregnant, not Ruby.

TESSA: Aah, don't know nothing do ye.

SCULLY: We can prove it Tessa, and we can prove that Greg was

the father.

TESSA: So what if he was the father.

SCULLY: This is very serious. Do you understand how serious this is?

(Tessa just looks away from Scully) Now you've waived the right to an

attorney, so if you lie to us here today, you could be charged with perjury.

TESSA: Promised me we'd be in L.A. by Christmas. (The Sherrif is

standing against the wall listening) He had a friend there, I'd never seen

the ocean.

SCULLY: You said that he and Ruby were seeing each other.

You said that they were planning to meet at the lake, is that true?

TESSA: Look it, I was nowhere near the lake that night, ok.

(Mulder gets up from his seat in the dark against the wall)

MULDER: Sure you were, Tessa. (Mulder walks towards Tessa)

You knew they were meeting, so you sat there and you waited for them.

You were angry and you were jealous.

TESSA: I wasn't.

MULDER: You sat there and you waited and when they showed,

you killed him first, isn't that how it went?

TESSA: No.

MULDER: You snuck up from behind him and you shot him in the back,

(Mulder hits the desk with his hand) BAAMMM. (Mulder walks around

the desk and stands beside Tessa) And then you killed Ruby,

(Mulder hits the desk again) BAAMMM. (Mulder walks to the other side

of Tessa) What was she doing right before she died Tessa?

Was she pleading for her life? Was she running away?

TESSA: I didn't kill her.

(Mulder walks back to the other side of Tessa again)

MULDER: Where's she buried, Tessa?

TESSA: I don't know.

MULDER: You don't know where you buried her, Tessa.

(Mulder walks again to Tessa's other side)

TESSA: I didn't kill her.

MULDER: You didn't?

TESSA: SHE WASN'T EVEN THERE THAT NIGHT!

(Mulder crouches down beside Tessa)

MULDER: Well, how would you know that, Tessa, if you weren't

there yourself.

(Mulder and Scully are walking along a corridor in the police station)

SCULLY: Mulder, you're not seeing the whole picture here.

MULDER: Which is?

SCULLY: Which is that all likelihood, Ruby is dead.

MULDER: Is that your conclusion or the conclusion of the Sioux City

Sheriff's Department?

SCULLY: They're searching the national park and a rescue dive team

is coming in from Des Moines to drag the lake.

(Mulder stops and turns to face Scully)

MULDER: They're wasting their time.

SCULLY: Do you really think Tessa Seers is telling the truth?

MULDER: Why not, what if Ruby never did show up that night?

SCULLY: She lied to us in the library, she lied to us about her

pregnancy, what makes you think she wouldn't lie to us about killing Ruby?

MULDER: Because something was out there in those woods.

SCULLY: We have a suspect in custody, we have a confession to one

murder, and we have a statement which speaks to the intent to commit

another. It's over Mulder. It's time to go home and turn this over to local

law enforcement.

MULDER: I can't do that.

(Mulder walks off. Mulder leaves the station and Scully follows him)

SCULLY: Mulder, where are you going?

MULDER: To talk to the boy.

SCULLY: Darlene won't even let you in the door.

MULDER: Well, I've gotta see him.

SCULLY: They don't wanna have anything to do with you...us.

(Scully stops and call after Mulder) Mulder stop. Stop running after

your sister. (Mulder stops, and then turns around to face Scully again)

This won't bring her back.

MULDER: Come with me or don't come with me but until they find a

body, I'm not giving up on that girl.

(Mulder walks off again and Scully stands where she is for a moment

and then follows Mulder)

<- DARLENE MORRIS' HOUSE ->

(Mulder knocks on the front door)

MULDER: Hello? (Mulder notices the door is unlocked, enters the house.

Scully is right behind him) Mrs. Morris?

SCULLY: Kevin? (Mulder notices something on the floor and turns off

the TV. On the floor are sheets of paper with binary sequences on them,

they are placed in a square shape. Scully hears the kettle boiling and

goes into the kitchen and takes it off the stove. She walks back into the

living room and looks at the papers) Mulder. (Mulder is sitting down

staring at the papers) What does it mean?

MULDER: I don't know.

SCULLY: I'm gonna check upstairs. (Scully goes upstairs and glances

over the bannister, as she does she notices something about the papers)

Oh my god.

MULDER: What is it?

SCULLY: Just come up here. (Mulder goes up the stairs) Look,

(Mulder looks at the papers and sees that the binary sequences make

a face) it's her, it's Ruby.

<- LAKE OKOBOGEE. NATIONAL PARK ->

(It is night time and Mulder and Scully are driving to Lake Okobogee)

SCULLY: This is a longshot Mulder, they could be anywhere.

MULDER: You know when I was a kid, I had this ritual. I closed my

eyes before I walked into my room, 'cause I thought that one day when

I opened them my sister would be there. Just lying in bed, like nothing

ever happened. You know I'm still walking into that room, everyday

of my life. (Mulder notices something up ahead) Scully. (Scully looks

to see what it is, it's Darlene's camper van. They pull up behind it and

get out of the car. They run to the van) DARLENE!

(Mulder opens the door but there is no one inside)

SCULLY: Look, there's a trail ahead.

(Mulder and Scully follow the trail, after a moment they hear Darlene's

cries as if she has fallen. Mulder and Scully run into the forest and

find Darlene crawling along the trail)

MULDER: Are you ok?

DARLENE MORRIS: It's here, I saw it.

MULDER: Where's Kevin?

DARLENE MORRIS: I couldn't keep up with him.

SCULLY: Go ahead.

(Mulder runs off while Scully stays with Darlene. Mulder runs into a

clearing and sees Kevin in the distance, a bright orange light appears

in front of Kevin)

MULDER: KEVIN!

(Mulder stands watching Kevin as he walks towards the light, and then

runs after him. Kevin stops as the light grows bigger, Mulder is still

running to catch him. The light grows into multiple, smaller lights,

and we see that the lights belong to motorbikes. As Kevin realises

they are bikes, he covers his eyes and Mulder picks him up and jumps

to the ground with him. The bikes drive passed Mulder and Kevin on

all sides. When all the bikes are passed, Mulder sits up and lifts Kevin

off the ground)

MULDER: You ok?

KEVIN MORRIS: She's back.

MULDER: Kevin I'm sorry but, I don't...

KEVIN MORRIS: She's here I know it.

MULDER: Kevin, I don't think she is. I know how much you want it to

be her, I did too.

SCULLY: MULDER!

(Hearing Scully's screams, Mulder gets up and runs with Kevin back

to Scully)

MULDER: SCULLY!

(As Mulder and Kevin find Scully and Darlene, they see another girl

lying on her back)

KEVIN MORRIS: RUBY!

SCULLY: She's unconcious but she's still alive.

MULDER: I'll get help.

(Mulder runs off)

<- SIOUX CITY HOSPITAL ->

(Mulder and Scully are walking down a corridor, Scully has Ruby's chart)

SCULLY: Nurse says she's been awake for almost an hour.

MULDER: Any ideas what caused the coma?

SCULLY: Eerrr, there's no sign of head trauma, no narcotic traces or

electralight abnormalities, but her white blood cell count was skyhigh.

MULDER: By any chance was there attendant reduction in the

lymphocyte population or a release of gluco-cordacoids?

(Mulder and Scully stop outside Ruby's room while Scully checks the chart)

SCULLY: Errmmm, actually both, how did you know that?

MULDER: They're symptoms of prolonged weightlessness.

Shuttle astronauts have reported similar imbalances.

(Mulder looks through the window of the door and Scully knocks on it.

Kevin opens the door. We see Ruby lying in bed, awake)

SCULLY: Hi. (Mulder and Scully enter the room) Hi Ruby.

RUBY MORRIS: Who are you?

SCULLY: Ooh, we're with the FBI, I'm Special Agent Dana Scully and

this is Fox Mulder.

RUBY MORRIS: My mom said you might be coming by.

SCULLY: How are you feeling?

RUBY MORRIS: Fine I guess.

MULDER: Where were you Ruby? Can you tell us?

KEVIN MORRIS: It's ok Ruby, he knows.

RUBY MORRIS: Ah, I'm not supposed to tell. They told me not to say.

MULDER: Who told you? (Ruby is afraid to say anything)

Ruby, who told you?

DARLENE MORRIS: Sweetheart, you don't have to say anything.

(Darlene is standing in the doorway)

SCULLY: You're right, we should wait until Ruby gets a little stronger.

DARLENE MORRIS: Can we speak outside for a moment.

(Mulder and Scully join Darlene outside Ruby's room)

I think that it's best that we put all of this, behind us.

I mean, hasn't Ruby been through enough already?

MULDER: I know how dis-oriented she must seem right now,

but in a couple of weeks, maybe even a few days, we could..

DARLENE MORRIS: I don't want her talking to you, or anyone.

MULDER: She should be encouraged to tell her story, not to keep it

inside, it's important that you let her.

DARLENE MORRIS: Important to who? I have my daughter back, I don't

want any more trouble. Besides she can hardly remember anything.

MULDER: But she will remember one day, one way or another,

even if it's only in dreams. And when she does, she's gonna wanna

talk about it, she's gonna need to talk about it.

DARLENE MORRIS: Like I did? Listen to me, all of my life I have been

ridiculed, for speaking my mind.

MULDER: But it was the truth, Darlene.

DARLENE MORRIS: The truth has caused me nothing but heartache,

I don't want the same thing for her.

MULDER: It doesn't have to be that way for Ruby.

DARLENE MORRIS: As far as I'm concerned, she spent the last month

on the back of a Harley Davidson.

MULDER: Is that what you're gonna tell Kevin?

DARLENE MORRIS: I'm sorry.

(Darlene walks back into Ruby's room, Kevin is standing at the door.

Mulder goes to follow Darlene in but Scully puts her hand on Mulder's

shoulder to stop him. Darlene brings Kevin inside and closes the door.

Mulder storms up the corridor)

(A tape is taken out of a tape recorder and turned over and put back in

and play pressed. Scully is alone in a room, voices are heard from the

tape recorder)

DR. HEITZ WERBER: But your eyes are open?

(Scully is going through the X-File on Mulder's sister)

MULDER: Yeah, they're open but it's like, nothing's happening.

DR. HEITZ WERBER: Try turning your head.

MULDER: I can't.

DR. HEITZ WERBER: Why not?

MULDER: I don't know. I can't move, so I don't...

(We see a close-up of the tape being played, on it it says:

F. MULDER Hypnotic Regression Tape Session Number 2B: June 16)

I just lie there in bed.

DR. HEITZ WERBER: Can you see your sister?

MULDER: No, but I can hear her.

DR. HEITZ WERBER: What is she saying?

(Scully lifts up a picture and looks at it)

MULDER: She's calling out my name, over and over again. (We see

the picture is one of Mulder and his sister when they were kids.

We see it is Mulder who is now holding the picture) She's crying out

for help but I can't help her. I can't move. (We see that Mulder is sitting

inside a church)

DR. HEITZ WERBER: Are you scared?

(Mulder starts crying)

MULDER: I know I should be but I'm not.

DR. HEITZ WERBER: Do you know why?

MULDER: Because of the voice.

DR. HEITZ WERBER: The voice?

MULDER: The voice in my head.

(Mulder keeps down on his knees and begins to pray)

DR. HEITZ WERBER: What's it telling you?

(The camera zooms away from Mulder as he prays)

MULDER: Not to be afraid. It's telling me no harm will come to her,

and that one day she'll return.

DR. HEITZ WERBER: Do you believe the voice?

(The scene fades to black)

MULDER: I want to believe.

STARRING

DAVID DUCHOVNY Agent Fox Mulder

GILLIAN ANDERSON Agent Dana Scully

Guest Starring

CARRIE SNODGRESS Darlene Morris

MICHAEL CAVANAUGH Sioux City Sheriff

DON GIBB Pennsylvania Pub Bartender

JOEL PALMER Kevin Morris

CHARLES CIOFFI Section Chief Scott Blevins

Co-Starring

SHELLEY OWENS Tessa

DON THOMPSON Holtzman

AKIKO MORISON Leza Atsumi

TAUNYA DEE Ruby Morris

Featuring

ANTHONY HARRISON Fourth Man

GLEN ROALD M. E. Worker

MAURICIO MERCADO Coroner

CREATED BY

CHRIS CARTER

Line Producer

JOSEPH PATRICK FINN

Supervising Producers

HOWARD GORDON & ALEX GANSA

Co-Executive Producers

JAMES WONG & GLEN MORGAN

Co-Executive Producer

R. W. GOODWIN

Written by

ALEX GANSA & HOWARD GORDON

Directed by

DANIEL SACKHEIM

EXECUTIVE PRODUCER

CHRIS CARTER

Co-Producer

PAUL RABWIN

Casting by

RICK MILLIKAN, C.S.A.

Vancouver Casting by

LYNNE CARROW, C. S. A.

Original Casting by

RANDY STONE, C. S. A.

Music by

MARK SNOW

Director of Photography

JOHN S. BARTLEY, C.S.C.

Art Director

MICHAEL NEMIRSKY

Editor

JAMES COBLENTZ

Production Manager

J. P. FINN

First Assistant Director

BRIAN GIDDENS

Second Assistant Director

COLLIN LEADLEY

Set Director SHIRLEY INGET

Asst. Art Director CLYDE KLOTZ

Script Supervisor WENDY McLEAN

Costume Designer LARRY WELLS

Costume Supervisor JENNI GULLETT

Property Master KEN HAWRYLIW

Transportation Coordinator BOB BOWE

Hair Stylist MALCOLM MARSDEN

Make-up FERN LEVIN

Location Manager TODD PITTSON

Camera Operator ROD PRIDY

Focus Fuller MARTY McINALLY

Production Coordinator ROBERTA SHEEHY

Asst. Prod. Coordinator ANITA TRUELOVE

Chief Lighting Technician DAVID TICKELL

Key Grip AL CAMPBELL

Special Effects DAVID GAUTHIER

Visual Effects Producer MAT BECK

Sound Mixer MICHAEL WILLIAMSON

Stunt Coordinator KEN KIRZINGER

Assistant Editor J. J. ROGERS

Main Title Sequence by

CASTLE/BRYANT/JOHNSEN

Processing by

GASTOWN FILM LABS

Telecine by

GASTOWN POST AND TRANSFER

Electronic Assembly by

ENCORE VIDEO

Post Production Sound by

WEST PRODUCTIONS INC.

Supervising Sound Editor THIERRY COUTURIER

Music Editor JEFF CHARBONNEAU

Filmed on location in British Columbia, Canada

This production has not been approved, endorsed or authorized by the

Federal Bureau of Investigation.

Copyright (c) 1993

Twentieth Century Fox Film Corporation

Twentieth Century Fox Film Corporation is the author of this motion

picture for purpose of copyright and other laws. The characters and

events depicted in this photoplay are fictitious. Any similarity to

actual persons, living or dead is purely coincidental.

Ownership of this motion picture is protected by copyright and other

applicable laws, and any unauthorized duplication, distribution or

exhibition of this motion picture could result in criminal prosecution

as well as civil liability.

All Rights Reserved Canadian

#1X03 Local 891

These scripts were typed up by Mark Rooney, who found out that he

had too much free time on his hands.

This by no means is meant to infringe on any copyrights held by

Chris Carter, Ten Thirteen Productions, or 20th Century Fox Television.

Agents may download and redistribute the script in its entirety with the

copyright notice intact, for personal enjoyment. It must not be reproduced

for payment. Any other use of this information is prohibited.