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 The X-Files > Season 8

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 Written by
David Amman

 Directed by
Richard Compton

 Original Air Date

A young boy abducted 10 years ago is suddenly found again at his school.

- The song that is being heard throughout the episode is "All the Pretty Little Horses" (also known as "Hush-a-bye"). It is a traditional American lullaby.

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Very good story about child abduction
Written by Jack Anderson on 2015-12-31
The episode's opening sequence is quite good, even though it is very similar to the opening scene from The Calusari (S02E21). The soundtrack and direction are quite good.
Then, we follow Doggett and Scully in yet another new investigation without Mulder. Once more, this episode is a great addition to the excellent and strong beginning of season 8. The themes are quite dark and the episodes work extremely great. It's always a pleasure to see the dialogues between Doggett and Scully.
Also, the mystery of the episode is very well implemented. You want to know the secret until the very end.
I give the episode a 6: Very good.

A nice one for David Amann
Written by Gruic on 2017-10-13
I'm not a big fan of Amann work, but this one is, if not a solid episode, an interesting one.

Robert Patrick is a great actor, playing Doggett at 200% and the plot gives him the possibility to run and scream and I love when Robert do that.

I also like the photography of this episode.

An old recipe
Written by DuaneB on 2018-05-12
This episode perfectly illustrates this magnificent alchemy of respect and repulsion that rages between Dogget and Scully.
The story of the rapture echoes some of the best episodes in the series:
-The Calusari

Above all, this episode echoes Samantha's kidnapping. The emotional alibi is very simple: in order to better love Dogget, the writers wanted to create a story about the disappearance of a loved one -in this case his son- to make a kind of continuity of a missing Mulder. Emotional continuity in the mind of a skeptic.

The Dogget Scully relationship is at its peak of arguments, opposing opinions, and it is with a certain enjoyment that we appreciate this new relationship. Scully's masculinity makes her shine as a woman; and Mulder's femininity at times too much in emotion is replaced by a doggetian virility that plays with Scully's electric batteries. This magnificent repulsion, in addition to a successful story and a very x-files photograph, as Gruic rightly says, gives us a superb survey. In addition, Dogget's frustration and Scully's response sum up perfectly the spirit of the show.

The secondary characters are very well played. The lost leader and the follower-victim also lost are perfect in their records. The good woman and her trailer give a popular side that contrasts very well with the American family and classic residential. We have the social side that X files often picks up; sometimes more adroitly than others. But this is very well found.

I give a 9/10 for all these reasons.

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