The X-Files - 1.

writers: Glen Morgan & James Wong

director: Harry Longstreet

(The camera pans over the city to an overhead view of a man leaving a

restaurant. The man, dressed in a suit, walks along the street.

The view changes to show a drain on the sidewalk. The scene with the

man suddenly fades to black and white with only the man staying in color.

The camera moves closer to the drain and a shape can be seen within it.

The man stands opening the trunk of a car, as the shape in the drain gets

closer, we see it is a pair of eyes)

(Next we see the man stepping out of an elevator, from a security monitor,

the camera pans right to show the man walking away from the elevators

and passed some offices. The elevator doors open but the elevator is not

there. The cables in the shaft are shaking. A desklight is turned on inside

an office and the man sits down, picks up the phone and dials a number)

MRS. USHER: Hi, you're reached the Usher residence, please leave a

message at the tone, thank you.

(The man picks up, and shakes an ornamental snowstorm)

MR. USHER: Hi honey, it's about 8:30 and erm, I'm gonna be here for a while.

The presentation didn't go so well, call me, I love you, bye.

(The man, Mr. Usher, then lifts up a mug from his desk and leaves his

office. Meanwhile, we see a narrow ventilation shaft, one of the screws,

on the cover, seems to unscrewing itself, and then the cover opens.

The man pours himself a cup of coffee, a hand emerges from the shaft.

The man walks back to his office, as he enters, the door suddenly slams

shut. There are screams and the door handle moves up and down as the

man tries desperately to get out of the office. Part of the door suddenly

breaks outwards in the struggle and then the struggle is over)

(Inside the office, blood is dripping onto the carpet, the desk is scattered

with papers also covered in blood. In a reflection, from an object on the

desk, we see the man lying dead, blood covering his face. The cover of

the shaft is pulled closed and the screw, rescrews itself in place)

<- WASHINGTON, D.C. ->

TOM COLTON: Guess who I ran into from our class at Quantico?

Marty Neill.

(Tom Colton is sitting having lunch with Dana Scully, in a restaurant)

SCULLY: J. Edgar Jr.

TOM COLTON: Just got bumped up, Foreign Counter Intelligence,

New York City Bureau, Supervisory, Special Agent.

SCULLY: Supervisory.

TOM COLTON: That's right.

SCULLY: Two years out of the academy, how'd he land that?

TOM COLTON: Lucked into the World Trade Center bombing.

SCULLY: Well, good for Marty.

TOM COLTON: Oh, come on Dana, the guy is a loser, look where he

is now. That's where we should be.

SCULLY: Brad Wilson told me, the pyshological profile you wrote on

the Washington Crossing Killer led them straight to the suspect.

Word has it, you're on the Violent Crime Section's fast track.

TOM COLTON: So how are you doing?

Have you had any close encounters of the third kind?

SCULLY: Is that what everyone thinks I do?

TOM COLTON: No, of course not. But you do work with Spooky Mulder.

SCULLY: Mulder's ideas may be a bit out there but he is a great agent.

TOM COLTON: Yeah, well, I've got this case that's, out there.

Baltimore PD cops, they want our help on a serial killer profile.

Three murders began six weeks ago, victims vary in age, race,

gender, no known connections to each other.

SCULLY: I take it there's a pattern.

TOM COLTON: Point of entry. Actually, the lack of one.

SCULLY: What do you mean?

TOM COLTON: One victim, college girl, killed in her ten by twelve center

block dorm room. She was found with the windows locked and the door

chained from the inside. The last incident, two days ago, high security

office building, nothing on the security monitors, janitor spoke to the

victim minutes before the murder, didn't hear or see a thing out of the

ordinary.

SCULLY: Suicides?

(Tom picks up a photo from beside him and gives it to Scully)

TOM COLTON: Each victim was found with their liver, ripped out.

No cutting tools used.

SCULLY: Bare hands. This looks like an X-file.

TOM COLTON: Let's not get carried away. I'm gonna solve these murders

but, what I would like from you is, to go over the case histories.

Maybe, come down to the crime scene.

SCULLY: Do you want me to ask Mulder?

TOM COLTON: Ok, if he wants to come and do you a favor, great.

But make sure he knows this is my case. Dana, if I can break a case

like this one, I'll be getting my bump up the ladder. And you, maybe

you won't have to be Mrs. Spooky anymore.

<- CRIME SCENE. GEORGE USHER'S OFFICE.

BALTIMORE, MARYLAND ->

(Mulder and Scully are standing in Usher's office)

MULDER: So why didn't they ask me?

SCULLY: They're friends of mine from the academy, I'm sure they just

felt more comfortable talking to me.

MULDER: Why would I make them so uncomfortable?

SCULLY: It probably has to do with your reputation.

MULDER: Reputation? I have a reputation?

SCULLY: Mulder, look. Colton plays by the book and you don't.

They feel your methods, your theories are...

MULDER: Spooky? Do you think I'm spooky?

VOICE: Agent Scully's in here sir.

(Tom enters)

TOM COLTON: Dana, sorry I'm late.

SCULLY: We just got here. Er, Fox Mulder, Tom Colton.

TOM COLTON: So, Mulder, what do you think, does this look like the

work of little green men?

MULDER: Grey.

TOM COLTON: Excuse me.

MULDER: Grey. You said green men, a Reticulan skin tone is actually

grey, they're notorious for their extraction of terrestrial human livers.

Due to iron depletion in the Reticulan galaxy.

TOM COLTON: You can't be serious.

MULDER: Do you have any idea what liver and onions go for on Reticula?

'Scuse me.

(Mulder walks off to look around the office, Tom can be heard talking

to Scully in the background, Mulder looks down as he sees something)

TOM COLTON: Dana, I've been thinking about this and I have a theory,

might explain alot, tell me what you think. (Mulder bends down to pick

up, using tweezers, what looks like a piece of metal thread) What if the

guy enters... (Mulder looks at the thread and then looks up and sees

the cover to the ventialtion shaft) Hold on a second. What in the hell's

he doing? (Mulder lifts up a small brush and dusts around the cover)

Err, that vent is six inches by about eighteen, even if a Reticulan could

crawl through, it's screwed in place. (Mulder has revealed an elongated

fingerprint)

<- X-FILES OFFICE ->

(Mulder has several slides on a lightbox showing fingerprints)

MULDER: This is the print I took yesterday from Usher's office, these

others are from an X-file. Ten murders, Baltimore area, undetermined

points of entry, each victim had their liver removed. These prints were

discovered at five of the ten crime scenes.

SCULLY: Ten murders, Colton never mentioned..

MULDER: Most likely, he's not aware of them. These two prints were

lifted five years before he was born at Palhatton Mill. And these three

were lifted probably, five years before his mother was even born.

SCULLY: Are you saying, these prints are from the 1960's and the 1930's?

MULDER: And fingerprinting was just coming into its own in 1903,

but there was a murder involving an extracted liver.

SCULLY: Of course.

(Scully wheels her chair away from the table and stands up)

MULDER: Now that's five murders every thirty years.

That makes two more to go this year.

SCULLY: You're saying these are copy-cats.

MULDER: What did we learn in our first day at the academy, Scully?

Each fingerprint is unique, these are a perfect match.

SCULLY: Are you suggesting that I go before the Violent Crime Section

and present a profile declaring that these murders were done by aliens?

MULDER: No, of course not, I find no evidence of alien involvement.

SCULLY: Well, what then? That, that this is the work of a hundred

year old serial killer who is capable of overpowering a healthy six foot

two businessman.

MULDER: And he should stick out in a crowd with ten inch fingers.

SCULLY: Look, bottom line, this is Colton's case.

(Mulder get up and stands beside Scully)

MULDER: Our X-file dates back to 1903, we had it first.

SCULLY: Mulder, they don't want you involved. They don't want to hear

your theories. That's why Blevins has you hidden away down here.

MULDER: You're down here too. Look, why don't we agree to this,

they'll have their investigation, we'll have ours and never the twain

shall meet. Agreed?

<- SCULLY'S APARTMENT ->

(Scully is typing up her report from a tape recording of her views)

After a careful review of the violent and powerful nature of these murders,

I believe the killer to be a male, twenty-five to thirty-five years of age,

with above average intelligence. (We see the blueprints of a building,

probably of the floor where George Usher worked) His matter of entry

has so far been undetectable, this may be due to his superior knowledge

of the inner-structure of buildings and duct works. Or that he in fact hides

in plain sight, posing as delivery or maintenace workers. (Scully lifts up

a slide of an elongated fingerprint and looks at it) The extraction of the

liver is the most significant detail of these crimes. The liver possesses

regenerative qualities, it cleanses the blood, (Scully's report continues

but now she is telling it to Tom Colton and his superiors in a meeting)

the taking of this trophy is the transferring act for the killer to, cleanse

himself of his own impurities. I think he is acting under, the classic

form of obsessive compulsive behaviour. Now since the victims are

unrelated, and we cannot predict who will be next, we must utilize

the fact that a killer will not always succeed in finding a victim. When

this occurs, a serial killer may, return in frustration to the sight of a

previous murder, hoping to, recapture the emotional high. I think our

best course of action is to target these sights.

DET. JOHNSON: Good job, Agent Scully. If there are no objections,

I'd like to begin our stakeouts of the murder sites tonight. We're looking

for a male, twenty-five to thirty-five, possibly wearing a uniform, gas

company, UPS, whatever. I know you're assigned to another area,

Scully, but if you don't mind some overtime, you're welcome to come

aboard with us, on this. Erm, that is if you don't mind working in an area

that's a bit more down-to-earth.

<- CRIME SCENE, 7:15 P.M. ->

(Scully is sitting in a car on a floor of the building's car park)

WALKIE-TALKIE: Position ten, do you check?

SCULLY: Position ten, I copy.

(Scully hears noises and gets out of the car and removes her gun.

She walks forward to a wall and we hear the sound of someone running.

As a man jumps through a large circular hole in the wall, Scully points

her gun at him. It's Mulder, who stops and raises his hands)

MULDER: You wouldn't shoot an unarmed man, would ya copper?

(Scully walks back to her car)

SCULLY: Mulder, what the hell are you doing here?

MULDER: He's not coming back here, his thrill is derived from the

challenge of unseemingly impossible entry. He's already beaten this

place, if you'd read the X-file on the case, you'd come to the same conclusion.

SCULLY: Mulder, you are jeopardising my stakeout.

MULDER: Seeds? (Mulder holds up a bag he is carrying)

You're wasting your time, I'm going home.

(Mulder leaves and Scully gets back into the car. As Mulder is walking

away he hears some noises, he stands behind a pillar but sees no one.

He walks towards a caged off area of the car park and sees movement

inside a ventilation duct. Mulder runs back to Scully)

MULDER: Scully, call for backup and get over here.

SCULLY: Position ten requesting backup.

(Scully gets out of the car and runs over to Mulder, who is standing at a

wall looking at the area with the ventilation ducts)

MULDER: In there.

(Mulder and Scully run over to the cage, and seeing the movement for

herself, Scully points her gun at the duct)

SCULLY: Federal Agent, I'm armed. Proceed down the vent, slowly.

(A foot kicks open the duct hatch and a man exits, he slowly stands

up and turns around holding his hands up. Several agents come running

to the scene)

TOM COLTON: Take `im.

AGENT: Alright, move, move, move.

AGENT 2: FBI.

AGENT: Don't move, don't move, get your hands up, keep `em up.

AGENT 2: You're under arrest. You have the right to remain silent..

MULDER: You were right.

(In the background we can hear an agent reading the man his rights)

<-F. B. I. BUREAU. BALTIMORE MARYLAND ->

(The man arrested is taking a polygraph test, the examiner is marking

the parts of the printout that are the man's answers)

EXAMINER: Is your full name, Eugene Victor Tooms?

EUGENE TOOMS: Yes.

EXAMINER: Are you a resident of the state of Maryland?

EUGENE TOOMS: Yes.

EXAMINER: Are you an employee of the Baltimore Municipal Animal

Control?

EUGENE TOOMS: Yes.

EXAMINER: Is it your intent to lie to me about anything here today?

EUGENE TOOMS: No.

EXAMINER: Were you ever enrolled in college?

(We see that the test is being watched from another room through a

two-way mirror)

EUGENE TOOMS: Yes.

EXAMINER: Were you ever enrolled in medical school?

EUGENE TOOMS: No.

(Watching the test are Agents Mulder, Scully, Colton, Det. Johnson

and a guard)

EXAMINER: Have you ever removed a liver from a human being?

EUGENE TOOMS: No.

EXAMINER: Have you ever killed a living creature?

EUGENE TOOMS: Yes.

EXAMINER: Have you ever killed a human being?

EUGENE TOOMS: No.

EXAMINER: Were you ever in George Usher's office?

EUGENE TOOMS: No.

EXAMINER: Did you kill George Usher?

EUGENE TOOMS: No.

EXAMINER: Are you over one hundred years old?

TOM COLTON: That must be a control question.

MULDER: I had her ask it.

EUGENE TOOMS: No.

EXAMINER: Have you ever been to Palhatton Mill?

EUGENE TOOMS: Yes.

EXAMINER: In 1933?

EUGENE TOOMS: No.

EXAMINER: Are you afraid you might fail this test?

EUGENE TOOMS: Well, yes, because I didn't do anything.

(The test is over and now the examiner and the agents are discussing

the results in the test room)

EXAMINER: He nailed it, A plus, as far as I'm concerned,

the subject did not kill those two people.

(Mulder gets up and checks the results himself.

Det. Johnson comes in)

DET. JOHNSON: Maintenance people at the office building confirm

the call to animal control regarding a bad smell. They found a dead

cat in the ventilation ducts on the second floor.

TOM COLTON: Well, that's that.

SCULLY: It still doesn't explain what he was doing there that late at night.

DET. JOHNSON: So, he's one of the few civil servants we have with

initiative, and we busted him for it.

SCULLY: He was crawling up an air duct, by himself, without alerting

security.

TOM COLTON: Dana, he passed the test, his story checks out, he's

not the guy. It doesn't mean that your profile's incorrect.

MULDER: Scully's right, it is the guy.

DET. JOHNSON: Whatta you got, Mulder?

MULDER: He lived on questions eleven and thirteen, his electrodermal

and cardiographic response nearly go off the chart.

DET. JOHNSON: Is number eleven the hundred year old question?

Well, let me tell ye, I had a reaction to that stupid question.

And what the hell is this Palhatton Mill thing.

MULDER: Two murders with matching mo's occurred in Palhatton Mill

in 1933, just look at the chart.

EXAMINER: My interpretation of those reactions..

DET. JOHNSON: I don't need you or that machine, telling me if Tooms

was alive in `33.

MULDER: He's the guy.

DET. JOHNSON: I'm letting him go.

(Det. Johnson and the examiner leave the room, Tom turns to Scully)

TOM COLTON: You comin'?

SCULLY: Tom, I wanna thank you for letting me put in some time with

the VCS, but I am officially assigned to the X-files.

TOM COLTON: I'll see what I can do about that.

SCULLY: Tom, I can look out for myself.

TOM COLTON: You said Mulder was out there, that guy's insane.

(Tom leaves and Scully turns to look at Mulder)

(Mulder and Scully are walking through an office floor of the bureau)

SCULLY: You knew they wouldn't believe you, why did you push it?

MULDER: Maybe I thought you caught the right guy. And maybe I run

into so many people, who are hostile, just because they can't open

their minds to the possibilties, that sometimes the need to mess with

their heads, outweighs the millstone of humiliation.

(They stop at the bottom of some stairs)

SCULLY: It seems like you were acting very territorial, I don't know,

forget it.

(Scully goes to turn away but Mulder stops her, he is touching

Scully's necklace)

MULDER: Of course I was. In our investigations, you may not always

agree with me but at least you respect the journey. And if you wanna

continue working with them, I won't hold it against ye.

(Mulder starts up the stairs and after a brief pause, Scully follows)

SCULLY: Er, I don't know, you must have something more than your

polygraph interpretation to backup this bizarre theory and I have to see

what it is.

<- METROPOLITAN POLICE DEPARTMENT ->

(Mulder is looking at the arrest record of Eugene Tooms on computer)

MULDER: These are Eugene Tooms' prints. (Mulder isolates the left

middle finger print and discards the rest, for a fingerprint anaylsis)

This is the fingerprint they took from Usher's office, (Mulder brings

up one of the elongated fingerprints) it matches the old ones from the

X-files. Obviously no match, but what if, somehow... (Mulder

squashes Tooms' print sideways, then stretches it lengthways.

Next he overlaps the two prints on screen, a readout shows a

match of one hundred percent)

SCULLY: How could that be?

MULDER: Only thing I know for certain is, they let him go.

(It is a dark night and a car pulls into a driveway, as it gets closer to the

house, a motion sensor light comes on. We see a pair of eyes watching

from the bushes. As the man gets out of the car and walks around it,

all color, again, fades to black and white except for the man)

(Eugene Tooms jogs from the bushes to the side of the house and looks

in a window. The man enters the room, and Tooms backs off as the man

gets closer to the window. Tooms then runs to another part of the house

and looks up, he starts climbing the wall. Inside the house, the man

checks through some envelopes and takes off his jacket. Tooms has

made it up the wall and pulls himself onto the roof beside the chimney

stack, which he enters by stretching his body to fit)

(The man walking from the kitchen, with a drink in his hand, enters

the living room and stands by the mantel drinking his drink. The man

puts his drink on the mantel and straightens a small glass container.

He bends down and opens the doors to the fire, he then strikes a

long match and tries to light some paper in the fire. From the shadows

of the room, emerges Tooms. As the man turns around, Tooms jumps

on him and pushes him onto the floor. The man is kicking, trying to get

up, but loses the struggle)

(It is daytime and a man is stretching a measuring tape across the

murdered man's living room)

FULLER: Sixty-four inches from the south wall.

TOM COLTON: Let's run a check on liver transplants in the next

twenty-four hours, maybe this thing is black market.

FULLER: C'mon, it was ripped outta there.

TOM COLTON: Look at this point, I'm willing to give any theory a shot.

(He sees Mulder and Scully enter the house) Any sane theory, I'm sorry,

Dana, but I only want qualified members of the investigating team at the

crime scene.

MULDER: What's the matter, Colton, you worried I'm gonna solve your

case?

(Mulder goes to walk further into the house but Colton stops him)

SCULLY: Tom. We have authorized access to this crime scene.

A report of you obstructing another officer's investigation might stick

out on your personnel file.

(Tom lets Mulder enter)

TOM COLTON: Look, Dana, whose side are you on?

SCULLY: The victim's.

FULLER: A hundred and five inches from the fireplace.

(Mulder looks at a single elongated fingerprint that has been dusted on

the front of the mantel)

SCULLY: The victim is a Thomas Werner, single, white..

MULDER: It's Tooms. (Mulder points to the fingerprint, and also

notices four small prints, like the tips of fingers on top of the mantel)

And he took something.

(Mulder is looking through a microfiche reader of a county census from

1903, and finds the name, Eugene Victor Tooms. Scully enters the room)

SCULLY: Baltimore PD checked out Tooms' apartment, it was a cover.

No one has ever lived there and he hasn't shown up for work since he

was arrested.

MULDER: I found him. How do we learn about the present?

We look to the past. I think this is where it all began in 1903 on Exeter

Street. (Mulder points to the address of Tooms on screen) Now look

at the address of that first murder in 1903. (Scully lifts up the file on

this case)

SCULLY: Apartment 2 0 3. He killed the guy above him.

MULDER: Maybe his neighbour played the Victrola too loud.

SCULLY: Well, this must be Tooms' great grandfather.

MULDER: What about the prints?

SCULLY: Genetics might explain the patterns, it also might explain the

sociopathic attitudes and behaviours. It begins with one family member,

who raises an offspring, who raises the next child.

MULDER: So what is this, the Anti-Waltons?

SCULLY: Well, what do you think?

MULDER: I think what we have to do is track Eugene Tooms, there's

four down and one to go this year. If we don't get him right now, the

next chance is in year.....

SCULLY: 2023.

MULDER: And you're gonna be head of the bureau by then. So I think

you have to go through the census, I'm gonna plough through this

century's marriage, birth, death certificates, and... You have any

dramamine on you by any chance cos, these things make me seasick.

(Mulder and Scully go through the information for hours)

MULDER: Anything?

SCULLY: Nope, he disappeared off the face of the earth. You?

MULDER: Never was born, never married, never died.

SCULLY: At least in Baltimore County. No, I did find one thing though,

erm, it's the current address of the investigating officer at the Palhatton

Mill murders in 1933.

<- LYNNE ACRES RETIREMENT HOME. BALTIMORE, MARYLAND ->

(Sitting in front of Mulder and Scully is an old man in a wheelchair)

FRANK BRIGGS: I've waited twenty-five years for you.

SCULLY: Sir?

FRANK BRIGGS: I called it quits, in 1968 after, fourty-five years as

a cop. And those killings at Palhatton Mill. I was a sheriif then and,

er, I'd seen my share of murders, bloody ones. But I could go home

and pitch a few baseballs to my kid and never give it a second thought,

you gotta be able to do that. You'd go crazy, right. But those murders

in Palhatton Mill, when I walked into that room, my heart, went cold,

my hands, numbed. I could feel, IT.

MULDER: Feel what, Frank?

FRANK BRIGGS: When I first heard about the death camps in 1945, I

remembered Palhatton Mill. When I see the Kurds and the Bosnians,

that room is there, I tell ye. It's like all the horrible acts that humans

are capable of, somehow, gave birth to some kind of, human monster.

That's why I say I've been waiting for you. Aah, there's a box in the trunk

here, get it for me, would you please. (Mulder lifts a box out of the

trunk and puts it on the bed, Frank wheels himself to it) Now this,

is all the evidence I've collected, officially and unofficially.

SCULLY: Unofficially?

FRANK BRIGGS: I knew the murders in `63 were by the same person

as in `33. But by then, they had me on a desk, pushing papers and

they wouldn't let me anywhere near the case.

(Scully lifts a jar out of the box and looks in it)

SCULLY: A piece of the removed liver?

FRANK BRIGGS: Yes, but you know, that's not the only trophy he took

with him. Family members reported small personal effects missing in

each case. A hairbrush in the Walters murder, a coffee mug in the

Taylor murder.

MULDER: Have you ever heard the name, Eugene Victor Tooms?

FRANK BRIGGS: Humh, when they wouldn't bring me aboard in `63,

I, I did some of my own work. I took, these surveillance pictures, this,

is Tooms. (Frank shows some photos to Mulder and Scully) 'Course,

that was him thirty years ago. (Frank takes out another photo and

shows it to Mulder) And this, is the apartment where he lived.

It was located at..

MULDER: 66 Exeter Street?

FRANK BRIGGS: Right. That's it, right there.

(We see the photo of where Tooms lived.

The photo changes to reality as Mulder and Scully go there)

(Mulder and Scully pull up to 66 Exeter Street in their car,

they enter the building, it is a run down empty building)

SCULLY: Here's 1 0 3.

(They enter the room)

MULDER: The old man was right, you can feel it.

SCULLY: There's nothing here.

MULDER: Check this out.

(Mulder pushes down a mattress that is standing against the wall.

Behind it is a large hole in the wall)

What's down here?

SCULLY: I don't know.

(Scully puts her gun away and enters the hole)

Let's find out.

(Scully climbs down a ladder, followed by Mulder and they shine their

torches into the darkness)

Just an old coal cellar.

(As they look further in the cellar, they come across a table full of objects)

MULDER: Somebody having a garage sale.

(Mulder picks up a small glass container)

This is the shape of Werner's mantel.

SCULLY: Frank said he collected trophies.

MULDER: Does he live in here?

SCULLY: It looks like the wall's deteriorating.

MULDER: No, somebody made it. (Mulder and Scully make their way

to part of the room where a wall looks like it's crumbling)

This is a nest, look, it's made out of rags and newspapers.

SCULLY: This looks like the opening, think there's anything inside?

(Mulder feels the opening and gets a slimy substance on his hand)

Oh my God, Mulder, it's smells like, I think it's bile.

MULDER: Is there any way I can get it off my fingers quickly without

betraying my cool exterior?

(Mulder quickly flicks the stuff of his fingers)

SCULLY: No one could live in this.

MULDER: I don't think it's where he lives, I think it's where he hibernates.

SCULLY: Hibernates?

MULDER: Just listen, what if some genetic mutation could allow a man

to awaken every thirty years.

SCULLY: Mulder....

MULDER: And what if the five livers could provide him sustenance for that

period. What if Tooms is some kind of, twentieth century, genetic mutant.

SCULLY: In any case, he's not here now and he's gotta come back.

MULDER: Well, we're gonna need a surveillance team.

SCULLY: Yeah, that'll take some fannagling.

MULDER: Well you go down town and see what you can fannagle,

I'll keep watch.

(Mulder and Scully get up and walk back towards the opening of the cellar.

Scully stops suddenly)

SCULLY: Oh, wait, I'm snagged on something, oh, it's ok, I got it.

(As Scully continues forward, a hand appears from within the rafters and

opening its hand we see Scully's necklace dangling from it. We then see

Tooms in the rafters)

<- 66 EXETER ST., 11:30 A.M. ->

(Mulder is sitting in his car when one of the back doors open and another

agent gets in. Another one gets in the front)

MULDER: It's about time.

KENNEDY: So, who're we looking for again?

MULDER: Eugene Tooms, he's unarmed but consider him dangerous.

Scully and I'll be back to relieve you in eight hours if he doesn't show,

right here.

KRAMER: You got it, Spooky.

(Mulder gets out of the car as the two agents are laughing)

(Scully is sitting in a room at the bureau. Tom comes in)

TOM COLTON: We have to talk.

SCULLY: I have to meet Mulder..

TOM COLTON: That's what we have to talk about. You're using two of

my men to sit in front of a building that's been condemned for ten years?

SCULLY: It isn't in any way interferring with your investigation.

TOM COLTON: When we first had lunch, I really looked forward to working

with you, you were a good agent, but now after Mulder, I couldn't have

you far enough away. Don't bother going down there, I had the stakeout

called off.

SCULLY: You can't do that.

TOM COLTON: No, I can't but my regional asat can, especially after I

told them about the irresponsible waste in man hours. (Scully picks

up the phone but before she can phone Mulder, Tom takes the phone

off her) Auh-uh! Let me call Mulder, let me tell him the news.

SCULLY: Is this what it takes to climb the ladder, Colton?

TOM COLTON: All the way to the top.

SCULLY: Then I can't wait `til you fall off and land on your ass.

(Tom phones Mulder)

MULDER'S ANSWER MACHINE: This is Fox Mulder, I'm not here,

leave a message.

(Scully pulls up outside her apartment. From the darkness we can see

the eyes of Tooms, watching. Scully walks from her car to her apartment

block and Tooms sees it all in black and white)

<- 66 EXETER ST., 7:25 P.M. ->

(Mulder pulls up in his car)

MULDER: Where is everyone? Scully?

(Mulder has a quick look around and then runs and enters the building)

(Back at Scully's apartment)

MULDER'S ANSWER MACHINE: This is Fox Mulder, I'm not here,

leave a message.

SCULLY: Mulder, you must've gone out since Colton gave us the night

off, I say we file a complaint against him, I am furious. Call me when

you get in, ok, bye.

(Scully is in her bathroom, after hanging up, she runs a bath. Scully

walks out of the bathroom and outside the window we see Tooms reach

up and feel the window)

(Meanwhile, Mulder is in the cellar below Tooms' apartment. As he

looks at the table with the trophies, from the murders, he sees and

recognises Scully's necklace)

MULDER: Dammit.

(Scully is back in her bathroom, she lifts a towel off the rack and goes

over to the bath and turns off the taps. She lifts a small bottle from a

shelf, she moves to the side of the bath to open it. As she opens it,

a lump of bile falls from the ceiling and splashes on her hand. She

breathes deeply, in shock, and then looks up at the vent in the ceiling,

there is bile around one corner of it. Scully rushes out of the bathroom

and looks for her gun in the apartment)

(Mulder is driving his car and using his phone)

MULDER: Dammit, ANSWER.

(We see that the phone line to Scully's apartment have been cut)

(Scully is moving about her apartment, with her gun, searching for

Tooms. She enters a room and turns, pointing her gun at a small

vent near the floor. As Scully turns awat from the vent, a hand comes

crashing through and grabs Scully's leg causing her to fall. We see

the face of Tooms in the vent as well. Scully manages to grab hold

of a door frame and pull herself from Tooms' grasp)

(Mulder pulls up outside Scully's apartment block)

(Tooms forces himself out through the vent and Scully, on the floor,

backs off into the bathroom. Tooms gets up and follows her in and sits

on her. Scully tries to hit Tooms but he blocks it, but she punches

him with her other hand)

(Mulder races into the building)

(Scully pushes her thumbs into the eyes of Tooms, but he grabs

her arms and pushes them to the floor above her head, exposing

her stomach)

(Mulder breaks open Scully's door, and rushes in)

MULDER: SCULLY!

(Tooms, hearing Mulder, gets off Scully and breaks the bathroom window.

Mulder comes into the bathroom and points his gun at Tooms. Scully

gets up and grabs Tooms before he can get out the window, but Tooms

grabs Scully by the throat and tries to choke her. As he does this,

Mulder puts handcuffs on one of Tooms' wrists. Tooms elbows Mulder,

knocking him to the ground, and turns to advance on him. Scully grabs

the handcuffs, stopping him from getting closer to Mulder and then

pulls the handcuffs to the bath taps. Scully feeds the handcuffs

through the taps, Tooms tries to stop her, but Scully grabs his other

hand and fastens it in the other handcuff. Mulder gets up and points

his gun at Tooms, who is tugging at the handcuffs)

MULDER: You alright? (Scully is leaning against the wall, breathing heavily.

She manages a nod of the head) He's not gonna get his quota this year.

(Tooms stops pulling at the handcuffs and accepts defeat)

<- LYNNE ACRES RETIREMENT HOME. BALTIMORE, MARYLAND ->

(Frank is reading an article, on the front page of a newspaper, about

"the consequences of ethnic cleansing". Shaking his head he opens

the newspaper and notices a small article about Eugene Tooms at

the bottom of the page)

(We see the article of Tooms again, only this time it is being ripped.

As the torn piece of paper is lifted up, we see it is Tooms who has ripped it.

He licks the torn piece of paper a couple of times and crumples it up and

throws it against a wall. The wall has alot of paper either already stuck to

it or lying on the ground)

(Mulder is watching Tooms from outside his cell. Scully comes walking

around a corner and down the corridor. She looks through the window

into Tooms' cell. He is still licking paper)

MULDER: Look at him, he's building another nest.

SCULLY: You'll be interested to know that I've ordered some genetic

tests. The preliminary medical exam revealed (Tooms has stopped

what he was doing and is now looking at Mulder watching him) quite

abnormal development in the muscular and skeletal systems. As well

as a (Tooms, stops looking at Mulder and continues with his nest)

continual declining metabolic rate, it dips way below the levels registered

in deep sleep. Did you hear what I said, Mulder?

MULDER: All these people putting bars on their windows, spending good

money on hi-tech security systems, trying to feel safe. I look at this guy

and I think, (We see Tooms, licking more paper, through the window)

it ain't enough.

(Scully turns to Mulder and they both walk off down the corridor.

As they go around the corner, a guard opens a door, at the end of

the corridor, for an orderly, who is carrying a meal on a tray.

The orderly walks to the door to Tooms cell. Tooms, who is still

licking paper, turns his head to the door when he hears a lock opening.

A small opening in the door appears and the orderly slides the tray

through, then locks the outside flap and walks away)

(Sometime later)

(Tooms is sitting on his bed staring at the small opening in the door,

where the food tray was placed earlier. The camera switches between

Tooms and the opening in the door, and zooming in on both in turn.

As the camera gets closer to Tooms' face, a smile appears across his

face as he studies the opening in the door)

STARRING

DAVID DUCHOVNY Agent Fox Mulder

GILLIAN ANDERSON Agent Dana Scully

Guest Starring

DOUG HUTCHISON Eugene Victor Tooms

DONAL LOGUE Agent Tom Colton

HENRY BECKMAN Detective Frank Briggs

Co-Starring

KEVIN McNULTY Fuller

TERENCE KELLY Usher

COLLEEN WINTON Examiner

Featuring

JAMES BELL Det. Johnson

GARY HETHERINGTON Kennedy

ROB MORTON Kramer

PAUL JOYCE Mr. Werner

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

GLEN MORGAN & JAMES WONG

Directed by

HENRY LONGSTREET

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

HEATHER MacDOUGALL

Production Manager

J. P. FINN

First Assistant Director

TOM BRAIDWOOD

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 LOUISA GRADNITZER

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 SHANNON LEIGH OLDS

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

#1X02 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.