Japanese title: Banreisetsu
translation: All Souls Day
Spanish title: Todas las Almas
translation: All The Souls
US Airdate: April 26, 1998
Teleplay: Frank Spotnitz and John Shiban
Story: Billy Brown and Dan Angel
director: Allen Coulter
SCENE 1 (Dark and Stormy Night. A priest, FATHER MCCUE, goes
up to the KERNOF house. MRS KERNOFF answers the door.)
MRS KERNOF: Good Evening, Father.
FATHER MCCUE: Is she ready?
MRS KERNOFF: Yes.
(He enters.)
(Later, FATHER MCCUE is pouring a flask of water into a metal
basin.)
FATHER MCCUE: Baptism is the rite of initiation. This holy
water takes away original sin. The sacrament confers the grace of god bringing the
soul into Gods family.
(MR and MRS KERNOF go to their wheelchair bound daughter,
DARA who is physically very handicapped. MR KERNOF holds DARA as she is baptized. DARA
reacts as the water touches her face.)
FATHER MCCUE: Dara, I baptize you in the name of the Father
and of the Son and of the Holy Spirit. Bless you my child.
(MR and MRS KERNOF are very happy.)
(Later. The KERNOFS are in bed. The storm is much worse. DARA
gets out of bed. She has six toes on each foot. MR KERNOF hears a noise. He gets out of
bed.)
MR KERNOF: Dara?
(He goes into DARAS room. Her bed is empty. He looks
out the window and sees her stumbling down the street outside)
MR KERNOF Oh, my God.
(Outside, DARA approaches a figure dressed in black. She
falls to her knees and raises her hands as if in prayer.)
MR KERNOF: (running toward them) Dara?! Dara!
(There is a very bright flash of light. The dark figure is
gone.)
MR KERNOF: Dara! Dara?
(He reaches DARA. She is dead, frozen in the position of
prayer. Her eyes have been burned out. Crying, MR KERNOF holds her.)
MR KERNOF: Oh Oh, God. Oh, my God. Dara! No! Noooo!
(Camera pulls away until the telephone pole hides the father
and daughter behind the shape of a cross.)
Opening Credits Mulder Whoo. Scully rocks.
SCENE 2
ST JOHNS CHURCH ALEXANDRIA, VA (SCULLY enters church.
She looks around for a moment and at a picture of EMILY. One other woman is there,
praying. SCULLY goes to a confession booth.)
SCULLY: Bless me, Father, for I have sinned. It has been
several months since my last confession.
PRIEST: You have a sin to confess?
SCULLY: Father, Im an FBI agent. Ive taken it as
my code and purpose to uphold the law to save lives.
PRIEST: And now your work has come in conflict with your
faith.
SCULLY: In a way. I was here for Easter services last week
and Father McCue approached me for my help.
PRIEST: Why did he come to you?
SCULLY: Because there was a family that he felt needed my
help. But it was more than that. Father, I had a daughter who died A strange and
sudden death several months ago.
PRIEST: Father McCue thought that by helping these people you
might in some way help yourself to come to terms with your grief.
SCULLY: Yes.
PRIEST: But you havent.
SCULLY: (crying) Father, I told you that I had a sin to
confess But the sin of which Im guilty Im not sure if you can
offer forgiveness.
PRIEST: What is the sin?
SCULLY: An innocent girl is dead because of me. I
couldve saved her life, but I let her die.
SCENE 3 EASTER SUNDAY ONE WEEK EARLIER (SCULLY exits church
with other parishioners. FATHER MCCUE is shaking hands.)
FATHER MCCUE: Dana Do you have a moment? Id like
to speak with you in private.
(Later, in FATHER MCCUES office.)
FATHER MCCUE: I must say, Dana, its been nice seeing
you at mass again. Ive almost started getting used to it.
SCULLY: Ive been trying to make an effort to come more
often.
FATHER MCCUE: I dont mean to take advantage of your
attendance, but Ive become involved in a difficult situation with a couple that are
also members here. Do you know the Kernofs?
SCULLY: No, Im afraid I dont.
FATHER MCCUE: Recently, they lost their daughter, Dara. You
may have heard about the situation?
SCULLY: No, I didnt.
FATHER MCCUE: The circumstances of the girls death were
sudden and Im afraid the police havent been able to tell them much.
SCULLY: Are you asking for my help?
FATHER MCCUE: The Kernofs are devout but their faith is
giving them little comfort. I thought with your background your words might carry a
certain weight. Can I tell them youll be visiting?
SCENE 4 (KERNOFF house. SCULLY sits with MRS KERNOFF in the
living room. MR KERNOFF stands in another room staring out the window.)
MRS KERNOFF: (showing picture of DARA) Thats Dara on
her 16th birthday. We couldnt have children of our own. I persuaded Lance six years
ago to adopt. At first he was reluctant to accept a special needs child, but he became so
attached to her. Then this happens. You make the choice never imagining something like
this or how vulnerable you are. Dara had just been baptized. I know in my heart shes
gone to a better place, but Lance is angry. Angry at God. They say time heals.
(SCULLY looks over at MR KERNOF.)
SCULLY: Oh, Father McCue said that, uh, that youve been
having trouble getting much information about what might have happened to her.
MRS KERNOFF: They say now she may have been struck by
lightening but no one seems to know for sure. How she even got out of the house onto the
street is a mystery.
SCULLY: What do you mean?
MRS KERNOFF: Dara suffered from congenital spinal
deformities. Shes been wheelchair bound her whole life.
SCULLY: Could somebody have taken her out of her room?
MRS KERNOFF: Lance said he saw her walking and that when he
found her she was on her knees, praying. I think thats the hardest part for my
husband. Hell never understand how God could forsake the life of an innocent
girl. How God, in His mercy could let this happen to our Dara.
CUT TO: (Confessional. Present)
SCULLY: Mrs. Kernof was talking about her husband, but she
might as well have been talking about me.
PRIEST: You, too, were angry at God?
SCULLY: I felt drawn to these people, Father in a very
personal way. I was determined to help them understand why their daughter had been taken.
PRIEST: And did you?
SCULLY: As much as I have my faith, Father, I am a scientist
trained to weigh evidence but science only teaches us how not why.
SCENE 5 (Morgue.)
CORONER: If you want me to stand by my report, I will, but I
have to say its not exactly open and shut on the cause of death.
SCULLY: You think it was lightning?
CORONER: Im guessing it was lightning, The way her eyes
were burned suggests the bolt may have gone to ground right through the top of her head.
Funny thing is there was no other sign of arcing except for the face.
SCULLY: Her mother said that she was found in a kneeling
position.
CORONER: Genuflecting. Are you a religious person?
SCULLY: Why do you ask?
CORONER: I havent been to church since I was a kid, but
I went last Sunday. Im going to show you something. (Shows pictures of DARAS
body.) Her body was rigored such that I had to do my examination in the position she was
found. Ive never seen anything like it.
(One of the close-up pictures show a scar on the outside of
DARAS hand.)
SCULLY: Looks like there was surgery done on her hands.
CORONER: She was polydactyl. Same with her feet. I
havent asked her parents yet. Havent had the heart to, but I assume they had
the extra fingers removed.
SCULLY: Whats the connection?
CORONER: I found no other evidence of any other tissue damage
of electrical burns or any other serious trauma. Its as if God Himself struck her
down.
SCULLY: Dara Kernof was adopted. I dont suppose that
youve requested any information about the birth mother.
CORONER: I can do that if you like.
SCULLY: No, thats okay. I, uh I have someone I
can ask. Somebody Id like to confer with, actually.
SCENE 6 STATE PSYCHIATRIC HOSPITAL MOUNT LEBANON, VA
(A man gets out of a silver Cutlass Ciera. There is an
upside-down cross pendant hanging from the rearview mirror.)
(Inside. FATHER GREGORY and an ORDERLY are walking down a
hall.)
ORDERLY: Koklos Koklos Paula Koklos, room 213.
Well get her things packed up and get you on your way.
(The ORDERLY begins to unlock the door. Inside the room,
PAULA KOKLOS, identical to DARA KERNOF, is looking out the window. At the sound of the key
in the lock she jumps then begins crawling across the floor. She has six fingers on each
hand.)
STARKEY: (running down the hall) Hold it! Just hold it. Are
you Father Gregory?
FATHER GREGORY: Yes.
STARKEY: Im Aaron Starkey with the Department of Social
Services. I am very sorry but weve had a mix-up.
FATHER GREGORY: What are you talking about?
STARKEY: Your adoption petition for Paula Koklos. Its
missing an approval.
ORDERLY: Ive got the court order right here.
STARKEY: Well, thats the mix-up. See, it never should
have gone to family court without getting an approval from the social worker assigned to
the case, and thats me.
FATHER GREGORY: Give it to me here then and well be on
our way.
STARKEY: No. I cant, at least not yet. Ive just
been assigned to Paula, so Ill need time to familiarize myself with her case
FATHER GREGORY: Look, Ive already been through all
this. Im here to take the girl home.
STARKEY: Im sorry, Father, but youll have to wait
until I can get the paperwork in order.
(FATHER GREGORY walks away, stiffly.)
SCENE 7 (SCULLY in her apartment looking at pictures of DARA.
Sound of HEAVY rain outside. [CarriK: First thought when I saw this ep was "What is
Mulder doing in her shower?" Thought I had stumbled onto some fanfic for a moment,
there.] She looks at picture of Emily. About to cry. Phone rings.)
SCULLY: (on phone) Hello?
(MULDER is in a phone booth dressed very casually throughout
the ep. Rain is very heavy.)
MULDER: (on phone, impatient) Hey, Scully. Im returning
your call. (checks his watch)
SCULLY: (on phone) Hi .. uh, somethings come up. I was,
uh, hoping that you could do me a favor.
MULDER: (on phone) Why? Whats going on?
SCULLY: (on phone) This isnt official FBI business so I
was hoping that we could keep it outside of work.
MULDER: (on phone) Hey, look, Im, uh Im
kind of tailing a possible suspect right now, so Im kind of rushed, so, uh
(Through the window of MULDERS phone booth you can see
neon pink - XXX.)
SCULLY: (on phone) I need some birth and adoptive records on
a Dara Kernof.
MULDER: (on phone) Who?
SCULLY: (on phone) Dara Kernof. I cant tell you much
more than that, Mulder. Im sorry.
MULDER: (on phone) You want to give me a hint? Anything?
SCULLY: (on phone) Not until you get me those records.
MULDER: (on phone) All right, Ill talk to you later.
(MULDER hangs up and runs back into movie theatre - Marquee
says- 6 PM AND 11 PM - A DECADE OF DIRTY DELINQUENTS)
SCENE 8 STATE PSYCHIATRIC HOSPITAL 1:04 AM
(A figure walks down hall to PAULAS room and stands in
her doorway. PAULA raises her hands in prayer. There is a very bright flash of light.)
(Commercial)
SCENE 9 (Psychiatric hospital. Next day. SCULLY watches as
coroners cover PAULA, now dead on a gurney, and wheel her out of the room Her eyes are
burned out. SCULLY sees an upside-down cross pendant hanging on the wall. MULDER enters.)
MULDER: Scully? Arent you the secret squirrel.
SCULLY: What so you mean?
MULDER: Just got a look at that body they wheeled out of
here. Youve been holding out on me.
SCULLY: Mulder, its not what you think. I - I
didnt want to involve you. I got asked to look into this as a favor for a family.
MULDER: Dara Kernofs family?
(MULDER begins pacing.)
SCULLY: You found Daras records?
MULDER: No, those are her birth records. The adoption records
have been sealed.
SCULLY: I think one of my questions has already been
answered. Dara was a twin.
MULDER: No. Actually she was a quadruplet one of four
girls. Was this, uh cross found like this?
SCULLY: Uh, yes, as far as I know. Why?
MULDER: Its inverted. Upside down. Thats a
protest, a sacrilege against the church.
SCULLY: Put there by whom?
MULDER: Its your case, remember, Scully? Do you have
any suspects?
SCULLY: Not as of this time.
MULDER: Could the, uh, the victim have placed it?
SCULLY: Uh, its doubtful. Paula Koklos was severely
impaired -- physically and mentally as was Dara Kernof.
MULDER: And they both died the same way?
SCULLY: It appears that their eyes were burnt out. Their
bodies frozen in a position of prayer.
MULDER: Their physical deformities could account for that.
SCULLY: They might.
MULDER: Look, Scully. I know you dont really want my
help on this, but can I offer you my professional opinion? (SCULLY nods.) Youve got
a bona-fide, super-crazy, religious wacko on your hands.
SCULLY: What makes you so sure?
MULDER: The mote in the eye, the eyes as windows to the soul,
an eye for an eye hes working from ancient scripture ancient text
Maybe even the Bible. He may even think hes doing Gods work.
STARKEY: (entering) Did you find anything? My name is Aaron
Starkey. Im the social worker assigned to Paula Koklos. This is so tragic. I just
hope you catch whoever did this.
SCULLY: Mr. Starkey, do you happen to know if that cross over
there belonged to Paula?
STARKEY: I dont remember seeing it before. Im
sure it didnt.
SCULLY: Did she have any visitors or anybody who might have
left it behind?
STARKEY: Well, she had no family. No friends, really. I
dont know if you knew this, but Paula was about to be adopted.
SCULLY: By who?
SCENE 10
(MULDER and SCULLY drive up to The Church of St. Peter the
Sinner. The name of the church is prefaced by an upside down cross. They enter the church.
It looks like an old warehouse, very simple. Folding chairs set up as pews. Someone
watches them from under the stairs. MULDER finds a plainly bound book: The Book of St.
Peter the Sinner. It has an upside-down cross. He turns the book upside down, looks at the
cross, then turns it right-side up. TD NOTE: Not sure why, though, just noting it.)
MULDER: Scully, look at this. (Begins thumbing through it.)
The Gnostic Gospels, Book of Enoch Book of J Apocrypha Im
surprised theres nothing here from "Jesus Christ Superstar".
SCULLY: What kind of church is this?
MULDER: Theres no telling.
FATHER GREGORY: (entering) Can I help you?
SCULLY: Father Gregory?
FATHER GREGORY: Yes?
SCULLY: Im Dana Scully. Were here about the death
of Paula Koklos.
FATHER GREGORY: (reacts to the news with shock) Oh
SCULLY: Are you all right, Father?
FATHER GREGORY: I was trying to adopt Paula. Im sure
you knew that.
MULDER: (suspicious) We hear you were very anxious to do so.
FATHER GREGORY: I I hope to God youre not
suggesting I had something to do with it.
MULDER: Why adopt her?
FATHER GREGORY: You think I was interested in harming her?
MULDER: Why adopt her?
FATHER GREGORY: I - I was trying to protect her. I knew her
mother.
SCULLY: Do you know where she is?
FATHER GREGORY: Yes.
SCULLY: We were looking for her name. Its not listed on
the girls birth records.
FATHER GREGORY: Why would you want it?
SCULLY: The other two girls may be in danger. Were
hoping that she might be able to help is find them.
FATHER GREGORY: Their mother died in childbirth.
(SCULLY looks to MULDER who says nothing.)
SCULLY: Can you give us a name?
FATHER GREGORY: When I was a priest in the Roman Church,
before I founded my own, I was her confessor. Divulging her name would violate the code of
my faith (he looks at SCULLYS cross necklace) and yours, I see.
MULDER: You said you wanted to protect Paula. From what?
FATHER GREGORY: Whatever your intentions your secular
prejudices blind you from seeing whats really happening here. Two girls are dead
not by the hand of Man. Unless you accept the truth of Gods teachings that
there is a struggle between good and evil for all souls and that we are losing that
struggle, youre but fools rushing in. You put your own lives in danger as well as
the lives of the Messengers. I have nothing more to say..
CUT TO: (Confessional. Present.)
SCULLY: I brought Agent Mulder on the case to help temper my
feelings to keep them from clouding my judgement. I wouldnt admit it to him,
but as we stood there, I felt as if Father Gregory were speaking directly to me
in a language only I could understand.
PRIEST: The Messengers.
SCULLY: Yes.
SCENE 11 (MULDER and SCULLY are coming out of FATHER
GREGORYS church.)
MULDER: I know people in glass houses shouldnt throw
stones, blah, blah, blah, but that guy is paranoid.
SCULLY: I think youre a little extreme in your
judgment, dont you, Mulder?
MULDER: All that crap about the fight for All Souls, the
literature we saw in there, the performance we just witnessed it all fits. He
thinks hes doing Gods laundry.
SCULLY: Well, he said this wasnt done by the hand of
man. Do you think he believes that, too?
MULDER: If he does, hes even more dangerous than he
appears. Even if hes not your killer, he is hiding something.
SCULLY: What?
MULDER: Well, he says he knew the mother, but wont give
up her name. Maybe shes still alive. I think you have enough to bring him in for
questioning if not make an arrest.
SCULLY: But, basically, youre ruling out any element of
the supernatural?
MULDER: (slowly) What do you mean?
SCULLY: Well, Dara Kernof was baptized on the day of her
death. She was sanctified by the ritual sacrament submerged in the spirit..
MULDER: And why would God allow this to happen. Why do bad
things happen to good people? Religion has masqueraded as the paranormal since the dawn of
time to justify some of the most horrible acts in history.
SCULLY: I was raised to believe that God has His reasons,
however mysterious.
MULDER: He may well have His reasons but He seems to use a
lot of psychotics to carry out His job orders. You want to find out who did this? I
suggest you autopsy the body of Paula Koklos before its interred, before the man who
killed her has a chance to find her sisters. (Gets in driver's side of the car.)
SCENE 12 (Autopsy bay.)
SCULLY: The victim is Paula Koklos, age 16, cause of death
unknown. Ill begin with the external examination. (Pulls back sheet to show
PAULAS burned eyes. PAULA has six fingers on each hand) Victim has signs of
congenital physical defects including four supernumerary digits. The only indications of
external trauma are the burning by means unknown, of both globes of the eyes.
(feels a lump on the shoulder) Im noting something on the shoulder a bony
process of some kind, possibly a tumerous mass. No- no indication of surgical procedure.
(looks at x-ray) The mass appears on both the right and left clavicle.
(When SCULLY looks back at the table, she sees EMILY lying
there, looking at her. SCULLY closes her eyes. When she opens them again she sees PAULA
staring back at her.)
SCULLY: (quietly) Oh, God. (turns away)
EMILY: Mommy?
(SCULLY turns in shock to see EMILY speaking to her.)
EMILY: Mommy, please.
(SCULLY, beginning to cry, puts her hand over her mouth and
turns away. When she turns back, Paula is there again. SCULLY tries to get control of
herself.)
CUT TO: (Confessional. Present.)
SCULLY: I told myself that it was all in my head a
hallucination brought on by my emotional connection to the case.
PRIEST: That would seem to be a reasonable explanation.
SCULLY: But thats not what it was, Father. I was meant
to see Emily for a purpose.
PRIEST: Which was?
SCULLY: To save these girls.
SCENE 13 (SCULLY is in lab looking at autopsy results)
MULDER: (on phone, voice) Hey, Scully, its me. I did a
little more digging on those adoption records.
SCULLY: (on phone) What do you mean?
MULDER: (on phone, driving slowly - in sunglasses) I think I
got a lead on that third sister.
SCULLY: (on phone) Where?
MULDER: (on phone) She was under county care ten years ago.
Apparently, she wandered into a teen crisis center here in DC last week, homeless. That
guy over at, uh, social services, Starkey hes helping me canvas the area.
(Stops the car and begins walking, followed by STARKEY.)
SCULLY: (on phone) Well, Mulder, if she shares anything with
her sisters, she wouldnt be walking anywhere far.
MULDER: (on phone) What did you find?
SCULLY: (on phone) Theres evidence of a progressive
degenerative bone disease and, uh, I know youre going to think that Im crazy
but I swear I found evidence of something winglike.
(MULDER looks in a silver Cutlass Ciera that has an upside
down cross hanging from the rearview mirror.)
MULDER: (on phone) Well, then, maybe she flew here, Scully.
SCULLY: (on phone, voice) Mulder, theres something else
MULDER: (on phone) Why dont you hold that thought and
tell it to me and Father Gregory when you see us?
(STARKEY goes into a fenced off area. MULDER hangs up and
goes after him.)
(Another girl, identical to DARA and PAULA, stumbles into a
room in an abandoned building. [CarriK: A church? There is stained glass.] A dark figure
follows her into the room. She raises her hands in prayer. There is a very bright flash of
light.)
(MULDER enters the building. No sign of STARKEY. MULDER sees
a figure at the end of a hall and pulls out his gun. It is FATHER GREGORY.)
MULDER: Stop right there! Move into the light. Move into the
light. Hands where I can see them!
FATHER GREGORY: Were too late.
(MULDER pushes FATHER GREGORY against the wall, roughly.)
MULDER: Wheres the girl?
FATHER GREGORY: Shes dead.
MULDER: Where is she?
FATHER GREGORY: In there.
(MULDER slowly pushes open a door and enters. The girl sits
in a position of prayer. Her eyes are burned out. MULDER looks up suddenly as a bird flies
up and out through a grate in the roof.)
SCENE 14 (Interrogation room. MULDER sits at table with
FATHER GREGORY. SCULLY stands behind MULDER. FATHER GREGORY is quietly murmuring.)
MULDER: What are you asking for, Father? Mercy or
forgiveness? You know they say when you talk to God its prayer, but when God talks
to you, its schizophrenia. What is your God telling you, Father?
FATHER GREGORY: I pray for the girls souls.
MULDER: You pray for their souls now. Thats convenient.
FATHER GREGORY: Im immune to your mockery. Youre
not interested in the truth.
MULDER: I am only interested in the truth. I would like to
know why you did what you did to three defenseless, helpless young girls. What in your
sick mind would possess you to burn their eyes out! Did they see you for who you are, like
I do? (Pushes upside down cross pendant toward him.) What does this mean, Father?
FATHER GREGORY: (to SCULLY) Tell him what it is.
(MULDER looks at SCULLY. SCULLY hesitates.)
FATHER GREGORY: St Peter. You know the story. St Peter on the
cross.
SCULLY: St. Peter would only be crucified upside-down out of
humility towards Christ.
FATHER GREGORY: Ive risked my life to protect their
precious souls, which the devil has sought to claim for his own. He took two before I
could reach them. I was too late to save the third.
(GUARD enters.)
GUARD: Agents Mulder and Scully?
(MULDER leaves, SCULLY following slowly.)
FATHER GREGORY: (to SCULLY) You know. Youve already
guessed what they are. The last one is still out there. The Devil is here and if he
finds her, his victory will be complete.
MULDER: (reentering) Scully, they think theyve found
the fourth girl.
FATHER GREGORY: As long as Im in here, theres no
one to protect her. Let me go or she will die.
CUT TO: (Confessional. Present.)
PRIEST: You believed him.
SCULLY: Yes.
PRIEST: But you didnt tell your colleague.
SCULLY: He believed that he could find the last girl. But I
already knew that I was meant to save her.
PRIEST: From what?
SCULLY: I wasnt sure. Father Gregory said that the
Devil claimed the lives of the first three girls.
PRIEST: You dont believe that.
SCULLY: I know now that Father Gregory was mistaken. The
Devil didnt take their souls, but the threat to those girls was real. And Father
Gregory gave his life to protect them.
SCENE 15 (MULDER and SCULLY walking through police station.
SCULLY is looking at folder.)
MULDER: The fourth girl is Roberta Dyer. Transferred to
Maryland Adoption Services in 1995 when her foster father got a job in Gaithersburg.
Adoption services were called out to investigate allegations of child abuse in September
of that year. Three more times in 96, then two more times in 97.
(SCULLY does not respond, just stares at the picture of the
girl.)
MULDER: Whats wrong?
SCULLY: Father Gregory called them Messengers.
MULDER: Scully? Scully, dont let this guy get in your
head. Thats the last thing you want. Sometimes the most twisted ones are the most
persuasive.
SCULLY: Mulder, he knows where she is.
MULDER: Well, thats okay. As long as hes locked
up here, it doesnt matter.
SCULLY: Youre not going find her. I think youre
being misled.
MULDER: By who? Scully, I think youre the one
whos being misled. Not just willingly, but willfully. Ive never seen you more
vulnerable or susceptible or more easily manipulated and it scares me because I dont
know why.
SCULLY: I saw Emily. She came to me in a vision.
(Puts his arm around her shoulders and leans in close to
her.)
MULDER: I think you should step away. Personal issues are
making you lose your objectivity, clouding your judgement.
SCULLY: You go. Go find the girl. Im going to finish up
with Father Gregory.
MULDER: Okay.
(MULDER releases her shoulder, gently takes the folder and
leaves.)
SCENE 16 (Interrogation room. FATHER GREGORY is alone.)
STARKEY: Father Gregory. Where is she, Father?
FATHER GREGORY: (seeing STARKEY) How did you get in here?
STARKEY: I will not be denied this time, Father.
FATHER GREGORY: But you took the others.
STARKEY: The others were taken from me. I will not allow that
to happen again. Where is the fourth girl?
(FATHER GREGORYS hands begin to smoke and turn red. He
cries out in pain.)
STARKEY: (voice deepening) Tell me, Father. Save yourself.
SCENE 17 (Outside interrogation room. SCULLY tries the door.
It is locked. A GUARD is sitting at a nearby desk.)
SCULLY: Id like to get back in here.
GUARD: It should be open. (He tries to unlock the door.)
SCULLY: Father Gregory? (bangs on door) Father Gregory?
(Inside the room, we see FATHER GREGORY dead. His skin is
completely red and blistered.)
SCENE 18 (DYER house. Police cars pull up. MULDER and police
go to door. DYER, a very slimy man, answers. MULDER pushes his way in the house, shoving a
warrant into DYERS hands.)
MULDER: We have a warrant to search the premises for your
daughter.
DYER: Shes not here. I tell you, shes out
shes at school.
MULDER: We checked at school. She hasnt been there in
over a week. We have reason to believe that her life may be in danger. If you know
something (Tries door under stairs.) Whats behind this door?
DYER: Its the basement.
MULDER: Well, can you unlock it?
DYER: I dont have the key.
(MULDER gives him a look, then kicks in the door. He shines
his flashlight in. Blankets and clothes and dirty dishes are strewn about. It looks like a
homeless persons corner of an alley.)
MULDER: (angry) Is this her room? Where is she, Mr. Dyer?
Where is she?!
DYER: Theyre going to cut off the checks, arent
they?
MULDER: Where is she?!
DYER: He said hed take her off my hands, but I could
keep the disability.
MULDER: Who?
DYER: The priest.
MULDER: Who?!
DYER: Father Gregory.
SCENE 19 DISTRICT POLICE STATION 9:52 PM (SCULLY is walking
to her car. Her key doesnt work in the lock. She looks through her keys. Still has
Apollo 11 key ring MULDER gave her last year. Phone rings.)
SCULLY: (on phone) Hello?
MULDER: (on phone, voice) Yeah, hi, Scully. Its me.
SCULLY: (on phone) Hes dead, Mulder.
MULDER: (on phone, voice) Who?
(MULDER is standing in the basement of the DYER house.)
SCULLY: (on phone) Father Gregory. They found him alone in
the interrogation room. No one can figure it out. There was a guard sitting right outside
the room.
(SCULLY drops her keys. She bends down to pick them up and
sees a pair of legs.)
MULDER: (on phone, voice) We didnt find her. The fourth
girl she was here.
(Speechless, SCULLY looks up slowly and sees a mans
smiling face which is backlit by a very bright light. The head begins turning, different
animal faces appear.)
MULDER: (on phone, voice) Hey, Scully. Scully, you there?
Answer me. Scully? Scully!
(Very bright light.)
(Commercial.)
SCENE 20 (FATHER MCCUES office. Next day.)
SCULLY: Father?
FATHER MCCUE: Come in, Dana. I understand you found the man
responsible for the death of those girls. Im sure the Kernoffs will be relieved.
SCULLY: Im not sure if they should be, Father.
FATHER MCCUE: Why not?
SCULLY: Ive seen things. Things that have made me
question if there arent larger forces at work here.
FATHER MCCUE: What have you seen?
SCULLY: Visions of my daughter Emily, for one.
FATHER MCCUE: I think thats understandable. Im
sure you identified with the loss.
SCULLY: I considered that, um but then I saw something
last night, which I Which I cant explain. I saw a man in dark clothes
but he had four faces. They werent human.
(FATHER MCCUE goes to a bookshelf and gets an old book. He
opens it and hands it to SCULLY. There is a drawing of a figure with four animal faces and
four human figures below it.)
FATHER MCCUE: Is this what you saw? Its a Seraphim. An
angel with four faces Those of a man, a lion, an eagle, and a bull. In the
story, the angel descends from heaven and fathers four children with a mortal woman. Their
offspring are the Nephilim The "Fallen Ones." They have the souls of
angels but they werent meant to be. Theyre deformed, tormented. So the Lord
sends the Seraphim to Earth to bring back the souls of the Nephilim to keep the Devil from
claiming them as his own.
SCULLY: How did he bring back their souls?
FATHER MCCUE: They were smote with the brightness of his
countenance. To look upon the Seraphim in all his glory is to give up ones soul to
heaven.
SCULLY: Do you think thats what I saw?
FATHER MCCUE: No. I think what you saw is a figment of your
imagination. A half-remembered story from your childhood that surfaced because of this
case.
SCULLY: But I saw it, Father.
FATHER MCCUE: Dana, the Nephilim is a story. The text in
which it appears isnt even recognized by the Church.
SCULLY: Father, do you believe that God has His
reasons?
FATHER MCCUE: Yes, Im certain of it. Its how He
rewards our faith.
SCENE 21 (Outside SCULLYS church)
STARKEY: Agent Scully? I cant believe I found you.
SCULLY: What is it?
STARKEY: Agent Mulders been trying to reach you.
Hes been at the station.
SCULLY: Trying to reach me for what?
STARKEY: The fourth girl shes at Father
Gregorys church. Come on. Ill drive you.
SCENE 22 (They arrive at FATHER GREGORYS church. SCULLY
enters. STARKEY stands in the doorway.)
SCULLY: Theres no one here.
STARKEY: They must be on their way.
(SCULLY sees horns in STARKEYS shadow.)
STARKEY: You dont see her in there? Shes here. I
know it.
(SCULLY goes to top of stairs. The door is locked. Coming
back down, she sees someone under the stairs looking up at her.)
STARKEY: Agent Scully? Did you find her? Agent Scully?
(SCULLY opens door under stairs. ROBERTA, identical to other
three girls, cowers in the corner.)
SCULLY: (to ROBERTA, quietly) My name is Dana. Im going
to get you out of there, okay? Im not going to hurt you.
(SCULLY holds out her hand. ROBERTA cautiously takes it and
allows SCULLY to help her out.)
SCULLY: Im going to take you someplace safe.
(SCULLY begins walking ROBERTA to front of the church, not
towards STARKEY.)
STARKEY: Where are you going? Where are you taking her?
SCULLY: Everythings going to be fine.
(Bright flash of light from the front of the church startles
SCULLY and ROBERTA.)
STARKEY: Bring her to me! Bring her here! Bring me the girl!
(ROBERTA begins moving toward the light. SCULLY tries to hold
her back.)
SCULLY: No, its okay. Its all right. Stay here.
Its okay. Stay Just stay here! Its going to be okay.
STARKEY: Bring her out to me.
(SCULLY looks back towards STARKEY.)
EMILY: Mommy?
(SCULLY looks back to see that it is EMILYS hand she is
holding.)
EMILY: Mommy, let me go. Mommy, please let me go.
SCULLY: Emily.
STARKEY: Agent Scully, get her out of there!
EMILY: Mommy, please.
(SCULLY slowly releases EMILYS hand and watches her
walk into the light.)
SCULLY: Emily? Emily?! Oh, God.
(The light fades. ROBERTAS dead body sits, hands raised
in prayer, eyes burned. STARKEY is gone. SCULLY sits down on one of chairs.)
CUT TO: (Confessional. Present.)
PRIEST: You believed you were releasing her soul to Heaven.
SCULLY: I felt sure of it.
PRIEST: But you still cant reconcile this belief with
the physical fact of her death?
SCULLY: No. I thought I could, Father, but I cant.
PRIEST: Do you believe there is a life after this one?
SCULLY: Yes.
PRIEST: Are you sure?
(SCULLY tries to answer, but cannot.)
PRIEST: Has it occurred to you that maybe this, too, is part
of what you were meant to understand?