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12x12: Person or Persons Unknown
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 Written by
The X-Files: Virtual Season 12

 Series
The X-Files

 Saga
The X-Files

 Rating
Rated PG-13

 Published on
April 3, 2019

 Word Count
9,108

 Read Time
46 minutes

 Summary
Mulder and Scully begin their final X-Files investigation in a quiet town in Washington state where those who go into the local woods come back forever changed.



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12x12: Person or Persons Unknown
By The X-Files: Virtual Season 12



“The X-Files” was created by Chris Carter and is the sole property of 20th Century Fox Television. This script is purely “fan fiction” and was not written for any monetary gain.

Work Text:
THE X-FILES

"Person or Persons Unknown"



Story By: Michael Little and Stephen Lovins



Teleplay By: Stephen Lovins




TEASER

FADE IN



SCENE 1



OCEAN SHORES, WASHINGTON 6:17 P.M.



INT. SEALE HOME - EVENING

A young woman, DIANE SEALE, stands in front of her kitchen
sink, washing the handful of remaining dishes from dinner
just prior. She is maybe in her early to mid 30's, reddish-
blonde hair. We hear the gurgling sounds of a happy baby off-
screen. Diane appears uneasy, making quick glances through
the kitchen window.

We CUT to a view through the kitchen window, where Diane's
oldest daughter CASIE swings slowly on a small swing set.

There is something off about the girl as she just sits, in
silence, slowly but rhythmically swinging.

SUDDENLY, Casie snaps her head up to catch her mom sneaking a
peek at her through the kitchen window. Diane lowers her gaze
immediately. We CUT back inside, where Diane is looking down
into the sink, her hands gripping the counter, terrified.

Slowly, she lifts her head back up to look out at Casie.

We CUT to Diane's POV, her daughter swinging distantly. Casie
looks back up at her, but this time her face distorts,
becoming grey-blue, her features broader and more muted. Not
quite human, not quite alien.

Diane gasps and averts her eyes, turning around and going
over to where her other child, still just an infant, lays in
a bassinet. She picks up her baby, holding her close to her
chest, her breathing heavy with anxiety.

We CUT to the household at bedtime. Diane looks at the infant
in its crib, sleeping silently. She walks down the hall,
nudging open the bedroom door where her husband, NATHANIEL,
is already fast asleep, snoring.

Diane continues further down the hall to the last bedroom,
Casie's room. Diane puts her hand on the doorknob of the
closed room, taking a deep breath before turning it and
entering.

Casie is still wide awake, sitting in her pajamas, staring
out the window at the night sky, observing the stars.

CASIE
Our stars are strange.

Diane cautiously goes to sit beside her on the bed.

DIANE
What do you mean, sweetheart?

CASIE
I mean that they're strange. And the
moon is so small.

Diane looks unsettled, watching her daughter closely. Casie's
face morphs again, though quicker this time, almost like a
glitch in a video game.

DIANE
You should be asleep, sweetie. Come
on, let's sing your lullaby
together, that always helps.

Casie looks over at her mother, confused.

CASIE
I don't... know it?

DIANE
"Hush-a-Bye Baby?" It's your
favorite. You sing it to your sister
all the time.

Casie shakes her head. Diane looks determined.

DIANE
Why don't we take a drive?



SCENE 2



EXT. FOREST - NIGHT

Diane is driving her minivan up a tight forest trail, deep
into the woods. Casie sits beside her, still emotionless.

DIANE
Do the woods scare you, now? Since
you got lost?

CASIE
No, it feels... nice.

Diane pulls the van into a small clearing in the woods. There
are several large tree stumps jutting out of the ground,
someone having taken the trees for lumber. Fog clings gently
to the ground.

Diane gets out of the car, going over and opening the door
for Casie, ushering her out. She walks the child over to one
of the tree stumps, the only sound being their footsteps and
crickets. Diane gestures for Casie to step up onto the tree
stump.

DIANE
Ok, which lullabies do you remember?

CASIE
I like "Twinkle Twinkle Little
Star".

DIANE
Ok, we're gonna play a game. Like
hide and seek! Close your eyes. Now,
sing "Twinkle Twinkle Little Star",
and once you're done, you can open
your eyes and come find me. Ok?

Casie nods, and begins to sing.

CASIE
Twinkle, twinkle, little star, How I
wonder what you are. Up above the
world so high, Like a diamond in the
sky...

Diane rushes back to the car as Casie continues into the
second stanza. She pops open the trunk of the van, quietly as
she can, searching for something. She finds it: the tire
iron. She slowly creeps back toward Casie.

We CUT to a shot facing Casie as she sings, her mother coming
up behind her, the tire iron raised.

CASIE
Then you show your little light,
Twinkle, twinkle, all the night.

Diane strikes, slamming the tire iron into Casie's head.

Casie falls to the ground, where Diane hits her again, for
good measure.

Diane turns her back, horrified by what she feels she had to
do. She takes a step away before we hear the singing
continue...

CASIE
When the golden sun does rise, Fills
with shining light the skies...

She is continuing the song through gurgles of blood, barely
able to breathe. Diane walks back over to her, disturbed. She
finishes her song:

CASIE
Then you fade away from sight Shine
no more until the night.

Casie lets out a child-like laugh as Diane raises the tire
iron once more and slams it down as hard as she can. Then
again, and again. Eventually she collapses in tears beside
her daughter's corpse, finally and truly dead. She holds
Casie's lifeless hand in hers and sobs.

We CUT to a shot of her from the tree line. We can just
barely make out the silhouette of a hooded observer, watching
her in despair.

FADE OUT

END OF TEASER

ACT ONE

FADE IN



SCENE 3



EXT. CEMETERY - MORNING

MULDER and SCULLY stand in the far distance as a funeral is
performed. We see Nathaniel in tears as Casie's casket is
lowered into the ground. An older woman, presumably the
grandmother, sits holding the baby sister.

We CUT to Mulder and Scully just as Scully turns away from
the funeral, unsettled.

SCULLY
Of course this would be my last
assignment.

MULDER
Our last assignment, Scully. At
least on the X-Files.

SCULLY
You're not thinking of reassigning
to another department?

MULDER
Maybe. I still got a little fuel in
the tank, career-wise. I always
thought I could have a career in
Human Resources. I could reassign to
HR and me and the other girls in the
steno pool could just dish and dish,
all day long.

Scully rolls her eyes dramatically.

SCULLY
FBI brass would probably jump for
joy if you asked to be assigned away
from the X-Files.

MULDER
Not as much as if I just retired. Or
died.

A YOUNG MAN breaks away from the funeral and approaches,
dressed in a police uniform.

The man is, at best, in his mid-20's, clean shaven and looks
rather unhappy to see Mulder and Scully. Mulder's eyes widen
as he has a realization.

MULDER
Scully... this is the last
uncooperative sheriff we're ever
gonna deal with!

He holds out a closed fist for a fist bump, which Scully
rightfully ignores. The young man stops a few feet from them.

SHERIFF WISEBORN
You're the feds I was told about,
then? I'm Sheriff Wiseborn.

SCULLY
You're pretty young to be head of
police?

SHERIFF WISEBORN
Yeah, well, full disclosure I'm
still pretty new at this. Just got
elected a few months ago.

MULDER
I was reading that no sheriff in
Ocean Shores has lasted more than a
single term in almost thirty years?

SHERIFF WISEBORN
Yeah, well, there's been a lot of
keepers of the peace around here.
Listen, I'm not trying to seem rude
here, but a lot of my boys on the
force aren't exactly happy to see
you guys around here.

SCULLY
And why is that?

SHERIFF WISEBORN
Well, the Pacific Northwest ain't
all hippies and left wingers. These
are turbulent times, and a lot of my
officers have been speculating you
all might be Deep State.

Scully rolls her eyes again, more dramatically.

SCULLY
Sheriff, I can assure you the FBI is
in no way affiliated with any sort
of "deep state" operation.

MULDER
We're just trying to understand
what's happening in your town. I
have had reports of everything from
Bigfoot sightings to UFOs in the
skies come across my desk. Most
important of all, I want to find out
why a mother would harm her child
like this.

SHERIFF WISEBORN
You two wanting to interrogate the
mother, I assume? Well, I'm not much
for it, but I could use your help.
What she's been saying so far has
been... unusual. You can follow me
to the station.

The three of them walk off toward the road that runs through
the cemetery, a line of cars parked along it. Scully walks
with purpose, a step ahead of the two men. The sheriff leans
in to ask Mulder a question.

SHERIFF WISEBORN
So I get you two are on the straight
and narrow, but is there a... you
know, "deep state" government?

Mulder glances over at him, deadly serious.

MULDER
Brother, you have no idea.

Wiseborn laughs, thinking it's a joke. Mulder continues to
look deadly serious. Wiseborn cuts his laughing short with a
nervous gulp of air.

SCENE 4



INT. POLICE STATION - DAY

Mulder and Scully stand in the office of the police station.

Mulder draws a cup of water from a water cooler in the
corner. He looks around the office, noticing that several of
the other officers are eyeing them nervously. Scully nudges
him, pointing to a TV hanging in the corner. "Truth Squad
with Tad O'Malley" is playing.

SCULLY
No wonder these people think we're
deep state.

MULDER
Yeah... It's equal parts admirable
and pathetic, being so devoted to
the idea of an alternate truth that
you lose touch with reality.

Scully turns her head to give Mulder a supremely incredulous
look.

SCULLY
How in the hell have we been
partners for 25 years and you just
now come to that realization?

Mulder shrugs.

MULDER
Hey, you can lead a horse to
water...

Wiseborn opens the door of one of the interrogation rooms,
ushering Mulder and Scully in. Diane Seale sits inside,
handcuffed to a chair, a distant look of mourning and
exhaustion on her face.

SHERIFF WISEBORN
Mrs. Seale, this is Agent Mulder and
Agent Scully from the FBI. They're
gonna ask you a few questions.

Mulder and Scully sit down across from her. Scully eyes her,
critically and skeptically.

MULDER
So, your daughter, Casie, was six
years old. You, by all accounts,
were a loving mother and married
working professional. So walk it
back for me. Tell me when you
started to feel... differently,
about your daughter.

Diane speaks readily but wearily. She seems to have accepted
her fate, though she still seems uneasy.

DIANE
It was the goddamned woods. It's
always those woods.

SCULLY
Casie got lost in the woods?

DIANE
The woods took her for two days. The
woods on the outskirts of town draw
people in, somehow. Been happening
my whole life, someone gets curious
about the forest, they go wandering
in, exploring. The ones that come
back don't come back the same.

MULDER
So you're saying your daughter came
back... different? Different how?

DIANE
At first it was just little things.
She was acting funny, forgetting
things. Her first dinner back at
home she'd forgotten how to use her
fork. She couldn't think of the name
of her favorite doll. I just thought
she was tired, or whatever. But then
she just started... behaving
strange. One day we were walking
down the street, going to dinner. My
husband was pushing our baby girl
Jodie in the stroller, and I was
holding Casie's hand as we walked. A
stray dog came running up toward the
stroller, howling. Rabid probably.
Nathaniel gave it a good kick in the
ribs and it ran off, but it scared
the baby, and she started crying.
Casie... well, Casie just started
laughing at her. Not scared at all,
just laughing hysterically.

SCULLY
And when did you start to have
homicidal ideation toward Casie?

DIANE
...when I started seeing her true
face.

MULDER
Her "true" face?

DIANE

*NODS*
Sometimes you'd be looking at her
and her face would just... change,
into another face.

Her eyes were broader, her skin grey, her nose smaller. Not
human-like. That's when I knew I had to kill her.

Scully shifts uncomfortably in her seat, distressed. Mulder
notices this.

MULDER
Mrs. Seale, your file says you're a
painter, is that correct?

Diane nods dejectedly. Mulder takes out a pen and a piece of
paper, pushing the supplies across the table to her.

MULDER
Could you draw the face you were
seeing, as reference for us?

Diane stares at the pen a minute, as if she doesn't want to
do it, but eventually she picks it up and slowly starts to
draw.

CUT TO:

Mulder and Scully enter the adjacent room, a one-way mirror
looking in on the interrogation room where Diane continues
her drawing. Sheriff Wiseborn remains in the room with Diane,
monitoring her. Mulder closes the door behind him and looks
at Scully with gentle concern.

MULDER
Were you ok in there?

SCULLY
I'm fine. Heard worse things.

Scully shrugs off his concern and Mulder clearly knows that
her own impending motherhood is clashing with the details of
the case. He tables the discussion for another time.

MULDER
So what's your take on the case?

SCULLY
Well, it's obvious, Mulder. I mean,
she just had her second daughter
less than two months ago; she
clearly is suffering from postpartum
psychosis.

MULDER
But with postpartum psychosis, why
would she target the older child
rather than the infant that was just
born?

SCULLY
It doesn't have to make logical
sense, Mulder, it's psychosis. Her
grasp on reality right now is
clearly tenuous at best. Severe
postpartum psychosis, left
untreated, can easily develop into
the kinds of delusions and anxieties
she was talking about.

Unbeknownst to them, Diane has finished her drawing. Sheriff
Wiseborn takes it from her and walks up to the mirror,
slapping the likeness against it. The drawing is a spot on
rendering of what Diane was seeing, part-human, part-alien.

MULDER
Huh. Correct me if I'm wrong, but
that looks kind of like a...

SCULLY
Mulder, don't say it.

Mulder smiles slightly, amused Scully doesn't want him to use
the "A" word.

MULDER
Well, let's just say there's
something in those woods, and
starting tomorrow, I plan to find
out what.



SCENE 5



INT. PRISON CELL BLOCK - DAY

A SHRILL ALARM sounds as doors to the cell block are buzzed
open by the SECURITY DESK ATTENDANT. Diane is escorted
through by an OFFICER to the desk. When they stop, Diane
looks at the officer's face, trying to be low key and unseen.

Sure enough, her paranoia proves correct as the officer's
face GLITCHES and MERGES into a face similar to that she had
been seeing in her daughter. The officer's face returns to
normal as he notices she's looking at him.

OFFICER
Eyes on the floor, lady.

SECURITY ATTENDANT
So where's that dimwit Wiseborn want
us to keep Casey Anthony here?

OFFICER
Isolation, end of hall, no yard
privileges.

SECURITY ATTENDANT
That's ritzy treatment for a kid
killer. Alright, the iso-cell is
open, go ahead and get her in, I'll
start the paperwork.

The officer nudges Diane to get moving, walking her down
toward the end of the dimly lit cell block. The CAMERA
FOCUSES IN on her handcuffed hands. She is cuffed from the
front, her hands shaking in fear.

They finally reach the isolation cell near the end of the
hallway, far away from the security desk. The officer half-
halfheartedly pushes her up against the wall.

OFFICER
Back against the wall, eyes down,
bitch.

The officer opens the cell door, keeping an eye on her as he
does it. He then approaches her again, unclipping his keys
from his belt, bending down ever so slightly to take her
handcuffs off...

SHE STRIKES. She throws the chain of the cuffs over his neck
and rushes around him, pulling the chain tight around the
officer's neck in a second flat. The officer struggles but
she is committed, the two falling to the floor as the officer
starts to choke and twitch

We CUT to a shot of the security attendant desk, where the
attendant is hunched over the desk, stamping some paperwork.

The camera PANS OVER his shoulder and onto the screen
depicting the security cameras. We see that the officer is
dead, lifeless on the ground. Diane has unsheathed the
officer's service pistol from its holster, holding it up
against her temple and pulling the trigger. The security
attendant leaps from the desk and rushes down the hall toward
the gunshot as we...

FADE OUT

END OF ACT ONE

ACT TWO

FADE IN



SCENE 6



INT. CELL BLOCK - NIGHT

Scully leans over as best as her pregnant self can,
inspecting both the body of Diane and the officer she killed.

Mulder and Sheriff Wiseborn stand behind her, watching her
work.

SCULLY
Well, there's nothing outwardly
interesting with Diane's body.
Clean, self-inflicted gunshot wound
to the head.

Scully shuffles over to inspect the corpse of the officer,
losing her balance and nearly slipping, her hand jutting out
reflexively to right herself, landing on the officer's chest.

Once she regains her balance, she stares quizzically at the
officer's chest. She feels the chest with her hand.

SCULLY
This is odd.

MULDER
What's wrong?

Scully loosens the officer's uniform shirt and runs her
fingers down the chest toward his stomach.

SCULLY
Well, this is where the ribs should
be...

Sheriff Wiseborn claps his hands on his own ribs,
idiotically, as if participating by answering the teacher's
question. Scully brings her hand back up toward the officer's
chest.

SCULLY
...but this is where his ribs seem
to be. And here seems to be his
chest plate.

She knocks gently on the area above the stomach where his
ribs should be, producing a hollow thud; solid bone.

SCULLY
I need to autopsy this body.

MULDER
We should autopsy all three, if we
can; Diane, Casie, and the officer.

SHERIFF WISEBORN
Hold on there, you two. Now, I can
swing the autopsy on Officer
Simmons' body. I know the family, so
I should be able to get next of
kin's consent. Even if not, here in
the state of Washington the coroner
has the legal right to demand an
autopsy without it. But as for the
Seale girls, I'm not gonna go ask a
grieving father and husband for his
permission to cut open his loved
ones. I just won't. You wanna
autopsy them, you can ask
yourselves.

Scully stands, removing her rubber gloves.

SCULLY
Then that's what we'll have to do.



SCENE 7



INT. SEALE HOME - MORNING

Mulder and Scully are sitting on the couch when NATHANIEL
walks into the frame, holding a hot cup of coffee for Mulder
and tea for Scully.

NATHANIEL
Alright, a cup of coffee for the
gentleman, and a tea for the lady.
Diane always drank tea when she was
pregnant. Less caffeine.

Nathaniel plops himself down in a chair near the couch, his
eyes red from tears and exhaustion. He lets out a long sigh,
trying to direct his attention to the agents.

MULDER
Thank you for the drinks.

NATHANIEL
Of course, I insist.

SCULLY
Do you have someone here to help you
with your daughter?

NATHANIEL
Yeah, my mom. Jodie's grandma. She's
been here ever since it... it, uh...
happened.

MULDER
That's good. How're you holding up?

Nathaniel becomes quickly agitated, almost shouting.

NATHANIEL
Alright, look. It's been... one-
hundred and some odd hours since my
wife beat my girl to death. And it's
been 12 hours since my wife killed a
cop and then herself. And, I got my
newborn baby girl I have to pull
myself together for, so, I'm not
really in for the supportive "I
can't imagine how you feel" chit
chat. So just say your piece and
leave me be.

SCULLY
I do know how you feel. Not even six
months ago, a very evil man shot my
son right between the eyes, right in
front of me.

NATHANIEL
...I'm sorry. Are you going to tell
me "it gets better"?

SCULLY
No. The only solace for someone in
our position is that we're not
alone. Hopefully that's enough.

She gives Mulder the briefest glance, almost imperceptible.

Nathaniel softens some.

NATHANIEL
Just... tell me what you guys need
from me.

MULDER
We would like your permission to
perform an autopsy on your wife's
body, and... also on Casie.

Nathaniel stiffens.

NATHANIEL
You do what you want to her, but you
leave my Casie in the ground. Please
don't touch my little girl. Now...
please leave.

Nathaniel's head falls into his hands, tears coming again.

Scully and Mulder get up to leave through the front door,
Mulder pausing momentarily in the doorway. He looks to
Nathaniel, sympathetically.

MULDER
A good friend of mine once told me
that it isn't enough to just mourn
what's gone, but that you have to
hold on to what's left. I know that
doesn't mean anything to you right
now, but... maybe in time.

Mulder exits, the CAMERA PANS over to Nathaniel into a CLOSE-
UP. His face MORPHS and GLITCHES, revealing the inhuman
nature behind his human exterior.

Outside, Mulder and Scully approach their car.

MULDER
I'm gonna drop you off at the morgue
so you can get started on the
autopsies. Call me with whatever you
find.

SCULLY
And what are you gonna do?

MULDER
I'm going to go down to Ocean Shores
city hall. I want to see some of
their records and figure just how
weird this town has gotten in the
past.



SCENE 8



INT. MORGUE - DAY

Scully stands at the wash sink, thoroughly washing her hands
before the autopsy. She catches her eye in the mirror,
looking intently at her face. She tilts her head one way,
then another, almost as if she expects a different face to
appear.

Sheriff Wiseborn bursts in, snapping Scully out of her
contemplation.

SHERIFF WISEBORN
Considering the sensitive nature of
this case, I'm going to be
observing, if you don't mind.

SCULLY
Fine by me. Just stay quiet, and I
hope you have a strong stomach.

She straps a surgical mask on and approaches Diane's body,
prepared for her on the surgical table.

SHERIFF WISEBORN
Why start with her?

SCULLY
I'm not sure I want to see what's
inside the deputy's body yet,
Sheriff.

She picks up a scalpel and prepares to begin.

SCENE 9



INT. CITY HALL RECORDS DEPARTMENT - DAY

Mulder approaches an older, white-haired woman, sitting
behind the record requests desk. She looks up to meet his eye
as he pulls out his badge.

MULDER
Agent Mulder, FBI. I'd like to take
a look through some city records, if
you don't mind.

RECORD KEEPER
Well, I'm the keeper of our records,
so I can certainly help you.

CUT TO:

The Record Keeper pushes open the door of a musty record
room, full of shelves of boxes and a few old computers.

RECORD KEEPER
Looking for anything particular?

MULDER
Old newspapers and clippings, court
reports?

RECORD KEEPER
Most of the physical copies of the
court documents are filed on the
left over there, and any newspapers
we have still would be filed along
the back wall. I must say, we have't
had a proper newspaper in nearly 15
years in this town, so most of the
city's newspaper information is
still saved on microfilm.

MULDER
Old school. Alright. No town paper,
huh? You guys don't like your news?

RECORD KEEPER
I guess our town doesn't churn out
many aspiring journalists,
unfortunately.

We follow Mulder along through a brief montage of
investigation, the CAMERA poised near the door, framing the
entire room. We see Mulder going from box to box, paper to
paper, almost like time lapse photography.

We settle in on him at the dusty and old microfilm viewer,
scrolling through on newspaper headlines, like an old-
fashioned detective story.

He stops on one particular paper's front page: The Ocean
Shores Weekly Report. The date is for March 17th, 1963. The
headline reads: TEACHERS TO BLAME FOR ELEMENTARY ASSAULTS?

Mulder pauses, reading the story. He then picks up a folder,
searching for a separate item he remembers seeing. The desk
is covered in old newspapers and folders of court reports.

Mulder's phone rings, vibrating on the desk. Scully calling.

He answers, cutting back and forth between their two
locations as they speak:

SCULLY
I completed the Seale autopsy, and
I'm about to autopsy Officer Simmons
now. Did you find anything
interesting in your deep dive at
city hall?

MULDER
Something, yeah. I've dredged up a
couple dozen newspapers and court
documents and found a pretty
troubling trend, starting about
fifty years ago.

SCULLY
What kind of trend?

MULDER
Well, starting in the mid-60's,
there was a dramatic uptick in
sexual assaults, especially sexual
assaults against children. But get
this, Scully. Most of the newspaper
reports obviously blamed the
teachers or parents, but going over
the court documents, not one trial
ended with one of the accused being
sentenced. And in multiple court
documents, the accused even
testified that the children were
assaulting each other. The trend
doesn't seem to break, either. I bet
if we go over current police reports
right now we'll find that Ocean
Shores still has an unusually high
number of cases of underage sexual
assault.

SCULLY
What would cause this sort of trend,
though, Mulder, especially in
barely-pubescent children?

MULDER
Your guess is as good as mine, Doc.
You find anything on the autopsy?

SCULLY
Not on the autopsy, no. But I did
find something interesting while
going over Diane Seale's medical
records. Put simply, Diane Seale
should have been completely
infertile, Mulder. Turns out she had
a prior marriage in her early 20's.
They tried to conceive but to no
avail. She had every fertility test
in the book done.

Blood tests, pelvic exams, transvaginal ultrasounds, a
hypersterosalpinogram, fertility treatments... I mean, you
name it, Mulder.

MULDER
Do her records show any similar
tests being done around the time she
would have married Nathaniel?

SCULLY
Not a one.

MULDER
The man must have some swimmers,
then. Have Sheriff Wiseborn meet me
where they found Casie, after she
was lost. I think it's about time we
look into these woods, Scully.

Scully hangs up the phone.

SCENE 10



INT. MORGUE - DAY

Scully stands over Officer Simmons' body, instruments in
hand. She speaks into a hanging microphone.

SCULLY
About to make the Y incision...

Scully begins cutting down the corpse's abdomen. Already
Scully's movement seems troubled, unsure.

SCULLY
Alright, something is definitely off
here.

Moments later, the body's flesh is pulled away, exposing the
ribcage and chest bone are, indeed, basically reversed.

SCULLY
The ribcage and the chest plate of
the body seem to be inverted, in
each other's rightful places. I'm
going to try and remove the ribcage
and chest plate together, as one
entire piece, to preserve it for
further study.

Scully makes further incisions along the sides of the body,
further opening the corpse up. She cuts away at sinews and
connective tissues before pulling the entire piece of bone
away and from the body, setting it on an examination table.

She returns her attention to the open body, examining the
different organs. Even through her surgical mask we can see
her jaw drop.

SCULLY
Oh my god...



SCENE 11



EXT. FOREST - DAY

Mulder and Wiseborn are preparing for their search in the
woods, checking their weapons and packing some basic supplies
into a backpack.

Mulder catches his reflection in the car window, staring at
himself for a moment, not unlike Scully. He pulls at his face
with his fingers, contorting his expression. Wiseborn tosses
Mulder an orange vest, snapping Mulder out of his fixation.

SHERIFF WISEBORN
Best put that on, Mulder. We don't
have many hunters in these woods,
but best to remain visible.

Wiseborn goes back to his prep when Mulder's phone rings, and
he answers, greeting Scully.

SCULLY
Mulder, I was right. Not only were
his ribs and his chest plate
inverted, but his organs are...
different.

MULDER
Different how?

SCULLY
He has a strikingly similar anatomy
to an ordinary person, but it's
different. His lung, specifically.

MULDER
He'd lost a lung?

SCULLY
No, Mulder, that's the thing: it
looks like he was born with just
one, larger, singular lung. It's
almost... evolutionary.

MULDER
What do you mean, evolutionary?

SCULLY
So, our chest plate is especially
thick, to protect our heart, our
most essential organ. We developed
two lungs rather than one to make
space in the chest cavity for the
heart. Then the ribs protect our
lungs and less vital organs. His
chest plate is larger than ours,
protecting his heart and lung, which
were placed closer together, and his
ribcage was shorter, protecting
fewer organs. It's like he's a
different kind of human.

MULDER
Like a missing link?

SCULLY
Like a separate link, Mulder. As if
he belonged to a species similar to
ours that developed in an almost
identical way through some
impossibly extreme form of
convergent evolution.

MULDER
Keep working with the body, write
down your observations. I'm going to
investigate the woods with Wiseborn.
I'll call you soon.

SCULLY
Be careful, Mulder. I'm not sure
what is happening in those woods.

He hangs up the phone, looking over at the sheriff, who looks
more than a little spooked.

MULDER
Why am I getting major Pet Sematary
vibes from these woods, Sheriff?

Mulder motions for the sheriff to follow, and enters the
forest.

Wiseborn hesitates, watching Mulder disappear into the trees.

A large gust of wind comes along behind him, blowing leaves
in his direction, just ominous enough to scare the poor
paranoid cop into the woods after Mulder.

FADE OUT

END OF ACT TWO

ACT THREE

FADE IN



SCENE 12



EXT. WOODS - DUSK

Mulder stands in a small clearing, getting his bearings.

Wiseborn comes up behind him, still clearly frightened.

SHERIFF WISEBORN
So do you have any idea where we're
going?

Mulder nods, pulling out a compass from a pocket on the
supply backpack. Mulder flips it open, mumbling to himself.

SHERIFF WISEBORN
What's the matter, compass broken?

MULDER
On the contrary, I think it's
working just as it should.

Mulder steps further into the clearing, a bit of slightly
overcast sky visible through the trees.

MULDER
Alright, pop quiz: the sun sets in
which direction?

Wiseborn shrugs his shoulders, Mulder rolling his eyes.

Mulder points dramatically in the direction of the slowly
setting sun, its rays streaming through the trees.

MULDER
West. Which should mean that's east,
that's south, and this should be
north.

He points in the northerly direction before pulling Wiseborn
over to him to look at the compass.

MULDER
The compass is pointing to a
different north.

SHERIFF WISEBORN
So it is broken?

Mulder lets out a sigh.

MULDER
Or something is distorting the
magnetic field nearby, and I'm
guessing it's in that direction.



SCENE 13



EXT. WOODS - NIGHT

The two men continue their trek, Mulder still following his
compass, Wiseborn following Mulder. Wiseborn stares up at the
sky, where the stars seem immensely bright, no clouds
anywhere. Wiseborn looks down at his watch, catching the
time.

SHERIFF WISEBORN
Sky sure is clear tonight. They said
it was supposed to storm by 9 but
here we are at 9:30 and I haven't
seen stars that bright in a long
time.

Something small and globular floats in from out of frame,
running into Wiseborn's face and running down his cheek like
tears. Wiseborn panics.

SHERIFF WISEBORN
What the hell!? Is it drizzling or
something?

MULDER
You just said yourself, the skies
are clear.

SHERIFF WISEBORN
Yeah, but something wet just hit me,
like a rain droplet or something.

Wiseborn wipes the wet from his cheek and neck, fretting.

Mulder squints his eyes off in the distance, everything dark
and lit only by moonlight. He takes out his flashlight.







MULDER
What the hell...

He turns the flashlight on, and keeps moving, slowly, through
the woods. We start to see little translucent blobs of fluid
floating around in the air, more and more appearing as they
walk.

Eventually they come to a break in the trees where these
thousands upon thousands of floating droplets rise higher
into the sky. Mulder and Wiseborn walk further into this
field of droplets, down a gently sloping embankment away from
the tree line. The two of them are walking through the field
of droplets, the droplets striking their clothes and
splattering against them.

The two men stop, looking up with their flashlights, the hot
orange light from the bulbs refracting through the droplet
field. Mulder pokes a droplet with his fingertip, delighting
as it cascades apart, but behind him, Wiseborn looks
unsettled, his mind chewing on something.

SHERIFF WISEBORN
Mulder, I know where we are...

MULDER
Where?

SHERIFF WISEBORN
That compass of yours says north but
we're actually heading northeast,
right?

MULDER
Should be, yeah.

SHERIFF WISEBORN
Mulder... we're standing in the
middle of the Skagit River...

Before Mulder can respond, we hear the deep rumble of
otherworldly thunder, followed quickly by a brilliant streak
of white-blue lightning. The lightning doesn't strike like a
normal lightning bolt, rather, it rather seems to snake down
from the sky in rigged angles, sort of like a crack in a pane
of glass. The bolt doesn't dissolve, it just stands there,
lighting the water in blinding light.

We hear more rumbling, and MORE lightning cracks the sky, and
MORE lightning. The light becomes so blinding we can't see
anything on the entire screen.

The light dissipates, Mulder lowering his arm from shielding
his eyes against it, looking around. Wiseborn is nowhere to
be seen. Mulder looks, frantically, calling his name.

Mulder's panic over the sheriff's disappearance quickly
vanishes as he looks down at his feet:

A current of water is running up to his ankles, slowly rising
in the riverbed.

Mulder bolts as fast he can northward, fighting the current.

The water droplets slowly stretch into oblong shapes as they
fall from the sky like crawling rain, the river rapidly
refilling and rising. Mulder rushes toward the shore and the
trees but the water is too strong, overtaking him and pushing
him under.

SCENE 14



EXT. FOREST EDGE - NIGHT



















Sheriff Wiseborn SNAPS to awareness, sitting the front seat
of his truck, parked back where he and Mulder first left. He
is immensely startled. He pats his body as if to make sure he
is still real, catching his eye in the rear-view, examining
himself.

Wiseborn catches the readout on the truck's digital clock,
stunned for a brief second before:

Scully knocks on the truck window, startling him even worse
before realizing who it is. He bursts out of the truck,
grabbing Scully by the shoulders.

SHERIFF WISEBORN
Agent Scully, is that clock right?

SCULLY
What!?

SHERIFF WISEBORN
The clock! Is it right? What time is
it?

Sheriff Wiseborn digs anxiously into his pocket, pulling out
his smartphone, almost dropping it in shock.

SHERIFF WISEBORN
10:02! The truck clock, 10:02! Good
lord, Siri, tell me what time it is!

Siri responds in her automated voice: 10:02.

SCULLY
What is wrong with you?

SHERIFF WISEBORN
Agent Scully, I was just with Agent
Mulder, not even five minutes ago,
and it was 9:30.

A look of fright dawns on Scully's face.

SCULLY
Oh my god, you lost time... Where is
Agent Mulder?



SCENE 15



EXT. CLEARING - NIGHT

Mulder AWAKENS, lying on the ground, perfectly dry. He sits
up, slowly, looking around him. He is in another clearing,
although this one man-made: tree stumps abound, fog clinging
to the ground.

When Mulder sits up fully, he sees a hooded figure sitting on
a tree stump, near the end of the clearing. The figure sits,
silently, its face hidden, little more than a silhouette.

MULDER
Did you save me from the river?

THE FIGURE
I pulled you from the water, yes.

The hooded figure speaks in an odd way, almost lyrical, but
with a deep timbre nonetheless.

MULDER
And who are you?

THE KEEPER OF THE WOODS
I am the keeper of the woods, and
its secrets.

MULDER
And what secrets are you keeping,
exactly?

Mulder stands, slowly, approaching the figure with a few
cautious steps, his hands raised slightly, defensively. The
figure takes no notice of his slow approach.

THE KEEPER OF THE WOODS
I guard a bridge. The bridge is why
you've experienced these moments
of... unreality.

MULDER
What kind of bridge?

THE KEEPER OF THE WOODS
The bridge between infinity to the
left, and infinity to the right.

MULDER
Infinity... you mean, a bridge of
time?

THE KEEPER OF THE WOODS
A bridge of... place.

MULDER
A bridge of... infinite place... so
a portal? Put here by who?

THE KEEPER OF THE WOODS
I am the keeper of those secrets.
But if you wish, take a few more
steps forward, and the bridge is
yours.

Mulder steps forward, nervously. He raises his hands higher,
as if reaching out to brace himself... SUDDENLY, his arms
begin to shake and twitch, seemingly penetrating a near-
invisible force-field, not unlike an experience he's had
before, in his past.

Mulder's feet leave the ground as his body vanishes beyond
this force-field and into nothing.

SCENE 16



INT. UNKNOWN BUILDING - DAY

Mulder SNAPS to awareness, standing in an unknown hallway.

Before he can react a bag is forced over his head, two
unknown assailants dragging him away. The CAMERA CUTS to
Mulder's POV, almost completely blank with only a few brief
flashes of light seeping through the fabric of the bag. We
hear the DING of an elevator arriving, followed by the sound
of the doors opening. They drag him inside, the elevator
creaking as it descends.

MULDER
An elevator? Well, apparently that
wasn't a portal to the future.

One of the men hits him in the side, punishing him for his
sarcasm. The elevator stops and they drag him off, continuing
down a dim hallway. We CUT BACK to Mulder's POV, more
blackness and shuffling of sounds.

Finally, they shove him down and RIP the mask away from his
head.

Mulder looks dazed for a moment, stunned even. A collar has
been latched his neck, a green light centered in the collar
He is sitting in a chair in his office; the same dimly lit,
dusty basement office he sat in for years upon years. He
turns his head to the left, where his desk sits. Pinned up on
the board behind his desk is a poster, but not the classic I
Want to Believe poster he expects. In its place is an adapted
American flag, with only three stars and a range of other
colors. Embossed over the flag like a slogan are the words WE
ALL BELIEVE.

A familiar voice is heard off screen.

VOICE (O.S)
I can tell this is not what you
expected to find at the end of some
alien portal... Another earth. But
then again...

Mulder spots the unknown figure standing in the opposite
corner of the room, silhouetted against the doorway. The
figure ignites a lighter and raises it to a cigarette hanging
from their mouth. The figure steps into the light, revealing
themselves to be...

Mulder. The Mulder of another earth, another dimension,
another reality.

FOX MULDER
...in your world, life is full of
surprises.

FADE OUT

END OF ACT THREE

ACT FOUR

FADE IN



SCENE 17



INT. X-FILES OFFICE - DAY

Mulder sits in the chair, staring up at the other version of
himself. The other Mulder walks slowly into the center of the
room.

FOX MULDER
You know, Fox, well, can I call you
Fox?

MULDER
I'd rather you not.

FOX
Ah, well. I prefer Fox, myself. You
know, Mulder, I've been quite
excited to meet you. I doubt you'll
find this surprising, but I've
discovered many other dimensions,
and in nearly all of them, you and I
are dead.

Fox pulls up a chair, sitting down across from Mulder.

MULDER
How do I know I'm not dead now?

FOX
This isn't hell, and I'm not the
devil. I'm just a professional. For
example, we wanted to start you off
somewhere comfortable to you,
somwhere familiar.

The alternate Mulder motions to the decor of the office
before he yells to someone unseen.

FOX
Alright, enough with the stage show!

The office around them slowly fades away, a projection. In
actuality they are sitting in a nondescript room, nearly all
black. We hear foot steps walking into view from behind
Mulder, walking to stand beside Fox.

Jeffrey Spender; healthy, unscarred in this dimension. Mulder
chuckles desperately.

MULDER
Well, if it's not my brother from
another mother.

Spender just looks at him, unfazed.

SPENDER
I'm not sure why that's funny.

MULDER
I guess that reference didn't cross
over into this world like I did.
Speaking of which, who made the
portal that brought me here?

FOX
Couldn't you guess?

MULDER
Colonists?

Mulder points his finger skyward, as if to say that he means
aliens.

FOX
That's exactly right. Colonists,
able to cross time, space,
dimension, all using these portals,
and for different reasons.

MULDER
What kind of reasons?

SPENDER
Human life, through time, though
different, is always the same.

MULDER
Helpful.

FOX
What's he's trying to say is that...
time starts us all as one river,
flowing. Then suddenly, there break
off tributaries, inlets, creeks,
oceans, disrupting the flow of it.
In your life, you're in love. You're
a dissident to tyrants. Here, I've
never met Dana Scully in my life.

In fact, it was an agent of my very office who killed her for
protesting in a rally outside the Bureau headquarters.

Mulder looks at him, intently, angrily.

MULDER
The FBI... killed Dana Scully?

FOX
Not your FBI, but rather my
Department of Observation. Here, the
only secrets are the secrets I
choose to keep. Remember, Mulder, we
live in different worlds. In yours,
you go left, in mine, I go right. In
yours, your planet was wrecked so
savagely by industry and pollution
the colonists abandoned their plans
as though Earth were merely spoiled
goods. In my life, my planet has
already been colonized. Peaceably.

Spender steps forward a bit.

SPENDER
You see, Mulder, the idea of
interplanetary colonization from
across the cosmos is hilariously
outmoded. Colonization will begin as
it always has, right here, on planet
Earth. Human brothers, overtaking
one another, for the betterment of
all.

MULDER
The people coming back, through the
portal. They're not human?

FOX
An experiment. When their original
plans failed, I suggested to our
leaders that we form a new hybrid,
between human and "alien", between
this dimension and yours. A better
type of human that can survive in
the remains of your Earth. There's
of course, one major problem with
our plans so far.

Two figures hooded in HAZMAT suits enter the room,
approaching Mulder.

One carries a suitcase, while the other is carting in a
medical table. One sets up the table, moving to the other
side of Mulder, while the other sets down the suitcase and
opens it up, revealing a massive needle, two spiraling tubes
of brightly colored green and blue liquid in the syringe.

FOX
The problem is, Mulder, it isn't...
natural to travel between two
dimensions. Two worlds can't exist
together, just as a life form made
of our two worlds cannot easily live
as one organism. You've seen it
yourself, Mulder. The experiments
that make it back to that sleepy
little seaside town. We raised these
hybrids to be especially
reproductive, potently so, yet so
often on your Earth this instilled
need for breeding turns violent.
Oftentimes, the hybrids who make it
back simply die. Then there's the
ones like the poor girl whose mother
beat her to death.

The man with the syringe STICKS Mulder in the arm, injecting
him with the dual solution inside. It seems to hurt, Mulder
shouting out. His hands shake, violently.

SPENDER
Something that exists in one
dimension cannot exist perfectly in
another, even if it manages to
survive. Those around such a
creature can perceive the rift
created by the impact of the two
dimensions in a single space. I'm
sure you observed these phenomena
yourself.

FOX
The changes in gravity and magnetism
near the bridge from your earth to
mine. Feelings of "unreality".

Mulder continues to shake, moaning in pain before suddenly
stopping, calm. The HAZMAT figure on the right places a
device to Mulder's temple, getting a reading.

HAZMAT #1
Sir, the hybridization treatment
didn't take.

FOX (ANGRILY)
Why?

HAZMAT #1
Because, sir, he has already been
hybridized.

SPENDER
How!?

Suddenly, the HAZMAT figure on the left brandishes a weapon,
shooting the other through the head before turning the gun to
Spender and Fox, keeping them at bay. Fox rolls his eyes.

FOX
Let me guess, another crusader,
trying for a little insurrection.
Who is it this time?

SPENDER
If you're going to point a gun at
us, you better show me your face,
coward.

The figure pulls the HAZMAT hood off of his head, revealing
himself to be none other than this world's Alex Krycek. Fox
looks unamused, as though they've fought before. Mulder sits,
barely conscious.

KRYCEK
Sorry, boys, but it looks like just
another failed experiment for you.

FOX
If it's caught your interest, I must
be on to something, Krycek.

KRYCEK
We'll see. Until next time, fellas.

Krycek reaches behind Mulder's neck, where the collar is
hooked, unclipping it from his neck. The room suddenly goes
hazy, as if photographed through a blurry lens. Somehow,
unclipping the collar has initiated an event of "unreality".

Mulder's head lulls to one side as he again falls away into
unconsciousness.

SCENE 18



INT. VAN - DAY

Mulder slowly opens his eyes, looking around, clearly not
feeling well. Krycek sits over him, in a caring way, not an
aggressive way.

MULDER
You know, in my world, there were
dozens of times I wanted to kill
you.

Krycek smiles, holding up the collar that had been around
Mulder's neck.

KRYCEK
Well, for whatever made you want to
kill me in your world, cut me some
slack for saving your life in mine.
The government and the colonists
have been trying to develop
sustainable trans-dimensional travel
for decades now. The best thing
they've come up with so far are
these collars.

MULDER
What are they?

KRYCEK
They prevent any being from another
dimension that is on our planet from
causing any lasting damage to the
fabric of our reality.

MULDER
How?

KRYCEK
It suppresses some of the effects
caused by the dimensional drift for
a brief time... and kills you, if
you're in our dimension for too
long.

We hear the sound of the van's breaks coming to a stop. The
driver, an ALIEN similar looking to the hybrids, turns its
head, speaking to Krycek in an unknown language before
exiting the van.

MULDER
He with you?

Krycek chuckles, helping Mulder up.

KRYCEK
Come on, Mulder. Let me show you a
piece of my world.



SCENE 19



EXT. RESISTANCE CAMP - DAY

Mulder follows Krycek out of the van, parked on a dry, dusty
bank near a river: the Potomac River. A few dozen men and
women walk about a makeshift camp. Across the river we see
the tattered remnants of Washington D.C.

KRYCEK
We're standing in what used to be
Alexandria, Virginia. Now, there's
not even a Virginia.

Mulder examines the cityscape. The Capitol Building still
stands, but half of the dome has been destroyed, looking
almost as if cut clean through by a laser of some kind. The
Washington Monument is nothing but rubble.

MULDER
What happened here?

KRYCEK
Well, like they said, Mulder. When
civilizations collide, one is
destroyed. The colonists and the
government began these experiments
into other worlds through
interdimensional bridges, and
slowly, over decades, our entire
reality started just to... fall
apart. The laws of nature and
physics began to fail. The
government tried to spin it on the
travelers from other worlds, calling
them "terrorists of disreality".
Now, my world exists in pieces.

Krycek claps Mulder on the shoulder with a friendly but
forlorn smile.

KRYCEK
You'll be going home soon, Mulder.

MULDER
How?

KRYCEK
You don't belong here. You belong in
your world. When two realities
collide, they inevitably separate.

You'll be back before you know it and the gate keeper will
see you home.

MULDER
The man in the woods?

Krycek smiles.

KRYCEK
An old friend of mine. In fact, I
think he let you cross the bridge so
I could give him something.

Krycek hands Mulder a translucent gemstone, a weird flow of
blue liquid smoke inside the gem.

MULDER
Why tell me any of this? You, them?

KRYCEK
You won't remember it, anyway,
Mulder.



SCENE 20



INT. THE KEEPER'S CABIN - NIGHT

Mulder's eyes open, standing just as he just stood with
Krycek. He now stands in a small cabin, lit by a fireplace.

The Keeper of the Woods sits at a little wooden table behind
Mulder. He strikes a match against the table, leaning in to
light a pipe. Mulder turns to face him.

MULDER
Who are you, really?

The Keeper inhales a puff of smoke, exhaling as he brings
down the hood covering his face, the smoke clearing to reveal
a man identical to the Cigarette Smoking Man. Mulder looks
unnerved for just a moment before catching on.

THE KEEPER
Yes, you look quite familiar, too.

MULDER
You are from that world. How do you
live in this world?

THE KEEPER
I was an engineer, working with the
government, for the colonists.

They had mastered space travel, though the portal technology
they had was... quite crude. You could perhaps transport a
person from a planet to a ship, but across time and space?
Across worlds?

MULDER
So you helped them.

THE KEEPER
For a time. I was quite high up the
ladder, with my two sons becoming
star pupils in a government rapidly
turning fascist. I was happy until
the day my world started to fall
apart. The laws of nature ceased to
apply, many of the colonists
fleeing. A dissident named Krycek
helped me flee. I had built the
bridge to this earth for them, but
vowed to destroy it. However, I
wasn't able to figure out how to
destroy the portal before I fled.
Ever since, I've simply tried my
best to guard the portal from their
experimentation, choosing to stay in
exile.

MULDER
But why did you come here?

THE KEEPER
I chose this because in this world
the two halves of my heart are not
broken.

He looks at Mulder, wistfully. He is clearly talking about a
world where his two sons are still good, redeemed men. Even
though he could reach out and touch Mulder in this moment, he
simply looks at him like an imaginary, hopeful figment of a
better future from a life that had already gone by for him.

Mulder approaches the keeper, handing out the gemstone from
his pocket. The Keeper of the Woods' eyes light up at the
sight of it.

THE KEEPER
How strange the world should bring
you here, unaware of my existence,
unaware of all the other endless
worlds, to bring me this.

MULDER
Maybe it's not so strange. Maybe the
universe is just...righting wrongs.

*BEAT*
Will I remember you?

CUT TO:



SCENE 21



INT. HYPNOTIST' OFFICE - DAY

Mulder sits on a couch against the wall, eyes closed,
reacting to a question posed by the hypnotist.

MULDER
He said, "Not at all".

HYPNOTIST
And what happened next?

MULDER
I left, back into the forest. And
not long after I left, there was
this flash of blue light in the sky
for a moment.

HYPNOTIST
And then?

MULDER
I remember Scully, waking me up...

The camera pulls back to reveal that Scully is watching the
session from behind a one-way glass, Sheriff Wiseborn with
her.

SHERIFF WISEBORN
Does this garbage really work?

Scully shrugs, halfheartedly.

SCULLY
You would be amazed what the mind
can repress. It's also incredible
what the mind can imagine.

SHERIFF WISEBORN
Officer Simmons' family requested
that his remains be cremated, now
your autopsy is over. I don't know
what to tell them.

SCULLY
Tell the coroner to do it. Whatever
happened to him, and in this town,
just... let there be rest.

Wiseborn nods, still seeming to not grasp his role in this
larger, mysterious world.

SHERIFF WISEBORN
Whatever's happening in this town,
something tells me I won't be
winning re-election. Give this to
Mulder for me, will you?

He places something in Scully's hand, patting her on the
shoulder before exiting. Scully turns her attention back to
Mulder, who sits alone as the hypnotist is preparing some
paperwork at a desk to the side.

We CUT to the inside of the office, where Mulder sits, just
staring at his reflection in the one-way mirror, calmly,
emotionless.

SCENE 22



INT. CAR - DAY

Mulder sits in the passenger seat of the car, Scully in the
driver's seat, driving them back to the airport, presumably.

Mulder stares passively out the window, Scully occasionally
giving him a worried glance. The radio is on, the volume low,
but Scully catches a tune she recognizes.

She turns it up, the song being "Can't Help Falling in Love"
by Elvis. We hear Elvis crooning, "Like a river flows, surely
to the sea, darling, so it goes, somethings are meant to
be..."

SCULLY
Hey, Mulder, it's one of your
favorite songs.

She nods at the radio. Mulder turns to look at her,
disinterested.

MULDER
Hm?

Scully watches him, turning the radio up a bit louder. Mulder
seems more like himself.

MULDER
Oh! Yeah, yeah. I love this song.

He goes back to looking out the window. Scully reaches into
her pocket, handing MULDER'S COMPASS over to him.

SCULLY
Here, Sheriff Wiseborn wanted you to
have your compass back.

MULDER
Nice of him.

Mulder begins to flip the compass open and closed, absent-
minded as he looks out the window. Scully turns her attention
to the road. The camera slowly zooms in on the compass... The
compass seems normal, the lid clicking shut. He clicks the
lid open again, the north hand seeming off from before, then
the lid clicks shut. He clicks the lid open again, the hands
of the compassing acting sporadically. The lid of the compass
SLAMS SHUT with a dramatic clang as we...

FADE OUT

END OF ACT FOUR

THE END

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