9X03: DAEMONICUS 9ABX03 ORIGINAL AIR DATE: 12/02/2001 WRITTEN AND DIRECTED BY FRANK SPOTNITZ ========================== DISCLAIMER: ========================== The X-files and all its characters and episodes are owned by FOX, Chris Carter, and Ten Thirteen Productions. This transcript was made without their permission and it is absolutely forbidden to use it for commercial gain. Please let me know if you catch any inaccuracies. If you would like to use this transcript on your site, please let me know so I can visit the site! I do ask that the transcript and all names and disclaimers be left intact. Believe it or not, this is hard work both for the transcriptor and his/her VCR. Feel free to add on your own disclaimer for your particular site. For corrections / inaccuracies contact: steph@philedom2k.com ========================== < TEASER > SCENE 1: WESTON, WEST VIRGINIA (The light of the full moon reflects off a puddle of water. A white pick up truck with two occupants parks near a farm house. The truck's motor shuts off. Inside the farm house, the dog barks. He wants to go outside.) EVELYN MOUNTJOY: Happy ... stop that. Hap. (EVELYN MOUTJOY turns to her husband DARREN.) What's with her all of a sudden? (DARREN MOUNTJOY shruggs. EVELYN rises to let the dog out.) EVELYN MOUNTJOY: Don't you look at my letters. DARREN MOUNTJOY: For gosh sakes. (EVELYN MOUNTJOY rises from the table to let the dog out. While her back is turned, DARREN reaches over to look at her scrabble letters. EVELYN watches Happy run across the yard. As she takes her place at the table, DARREN puts his tiles down and uses all his letters.) Read 'em and weep, my dear. EVELYN MOUNTJOY: Seven letters; 50 bonus points. (From inside, they can hear their dog barking. A whimper. Then silence.) EVELYN MOUNTJOY: Darren...? (The lights go out inside.) DARREN MOUNTJOY: Get in the basement. EVELYN MOUNTJOY: What are you going to do? DARREN MOUNTJOY: Just do what I say. (DARREN leaves EVELYN standing there as he rushes up the stairway. From behind her, a hand clamps over her mouth stiffling her cries. DARREN is upstairs and gets his handgun from the drawer. The quickly loads the weapon and makes his way downstairs. In the dark, he sees a figure walk toward him.) DARREN MOUNTJOY: I got a gun. Stop! (The figure continues to advance near him. DARREN fires twice. The figure falls to the ground dead. DARREN approaches the figure and sees it's his wife, EVELYN. He starts to weep. He hears voices whispering. He turns to look behind him and sees two dark figures wearing masks approach him from behind. < /TEASER > << TITLE CREDITS >> [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling.] Tag Line: The Truth is Out There (COMMERCIAL SET 1) SCENE #2: [OUTSIDE THE MOUNTJOY'S HOME] WESTON, WEST VIRGINIA (REYES drives her car onto the farm. She shows the officer outside her ID, gets out of the car and takes a look around.) SCENE #3: [INSIDE THE MOUNTJOY'S HOME] (A camera takes pictures of the crime scene. REYES ducks under the yellow police tape and stops at the sight before her. DARREN and EVELYN MOUNTJOY are sitting at their living room table with the scrabble board between them. REYES slowly approaches the table. The fan overhead turns. EVELYN sits upright. She is clutching the revolver in her right hand. DARREN sits across EVELYN. A gunshot wound to his head. His eyes and mouth are open. On the board between them is a single word: DAEMONICUS.) (REYES stares intently at the board. She reaches out and touches the D tile. The ceiling fan above her stops squeaking. It stops moving altogether. REYES looks up wondering what it could mean.) DOGGETT: Hey! (DOGGETT startles REYES. The ceiling fan resumes moving.) DOGGETT: Sorry. I didn't mean to scare you. (Squeaking starts again) REYES: They told me I'd find you inside. DOGGETT: Yeah, I was out back talking to the detective in charge. You're the expert here, Monica. Everyone's waiting to hear what you have to say on this. REYES: What do we know? DOGGETT: Darren and Evelyn Mountjoy, married 32 years, three kids, five grandkids. Not an enemy in the world. That's their dog out front. Neck's broken. From the footprints in the mud, best guess is we're looking for two perps. REYES: Nothing stolen from the house. Nothing at all to suggest motive. DOGGETT: It all fits the profile, right? This thing is staged to look like some kind of satanic ritual. REYES: Placing victims in a murder-suicide posture is ritualistic and this word is undoubtedly satanic. DOGGETT: "Daemonicus." REYES: It means satan in latin. Or "daemoniacus"; demon possession. DOGGETT: And it's worth 50 extra points. That's why they were posed like this so we'd think that these folks were possessed, right? REYES: That would be the textbook explanation. DOGGETT: I'll let them know. REYES: This may be something else. DOGGETT: Which is what? Hey, you say anything you want about satanic ritual but don't tell me you think the devil did this 'cause we got prints on the lawn out there. This case ain't even close to being an x-file. REYES: Something strange happened in here just before you came in. I can't explain it. (The officer assigned to remove the bodies gasps in pain.) DOGGETT: What? (The officer points to Evelyn's body. DOGGETT opens her jacket to reveal two blood-slicked snakes squirm out of the bullet holes in Evelyn's chest. The agents don't know what to make of this.) SCENE #4 FBI TRAINING ACADEMY QUANTICO, VIRGINIA (SCULLY is writing her name on a blackboard. She is in a classroom teaching a full class of young FBI students.) SCULLY: Dr. Dana Scully. I have just been assigned to the academy as a forensic investigator. For the past eight years, I was part of a unit known as the X- Files. (There is some chuckling. DOGGETT enters the classroom.) SCULLY: Some of you may have heard of it. STUDENT: Ever slay a vampire? (SCULLY is not amused.) SCULLY: Sorry to disappoint you, but this is a course in forensic pathology. Hard science. An x-file is a case that has been deemed unsolvable by the bureau. Because such a case cannot be solved, it may beg other explanations. A vampire, perhaps. Science, however, tells us that evil comes not from monsters but from men. It offers us the methodology to catch these men. And only after we have exhausted these methods should we leave science behind to consider more extreme possibilities. SCENE #5 [QUANTICO] (REYES makes her way through the hallway and stops outside the room where DOGGETT and SCULLY are talking over a corpse. She pauses to observe the exchange. SCULLY stops speaking when she sees REYES outside. DOGGETT turns around to see what caught SCULLY's attention. REYES enters the room.) REYES: What did you find? DOGGETT: I asked Agent Scully for her expertise on this. Looks like we can rule out the exorcist after all. REYES: And why is that? SCULLY: There's adhesive residue on Mrs. Mountjoy's wrists and face. Can you see that? She was taped and bound and then shot at a range of ten to 12 feet with her husband's handgun. REYES: The husband shot her. (Clips of the events that occurred that night flash as REYES speaks. DARREN MOUNTJOY fires his weapon two times at EVELYN and EVELYN falls to the ground.) He was tricked into it. DOGGETT: That's what we were thinking. Some kind of sick game. SCULLY: Well, there's also evidence of fingerprint bruising along his collarbone. REEYES: They held him down. (Again, a clip flashes of one man holds a struggling DARREN MOUNTJOY as a gun pointed at him fires.) Shot him in his chair. DOGGETT: Again, we're looking for two guys. SCULLY: The snakes appear to be purely symbolic. They're a non-venomous species collected locally. They were sewn post-mortem into the body cavity with household thread by someone who appears to have surgical skill. REYES: You've made a lot of headway. SCULLY: But there's something else. There's something that you're not saying. REYES: When I was alone in that house this morning I had the strong feeling I was in the presence of evil. DOGGETT: Look, Monica, the only reason we were called in on this thing is you've investigated hundreds of these kinds of cases. REYES: And not once did I find anything to support evidence of genuine satanic activity. DOGGETT: I'm saying. REYES: I've never felt this before. (SCULLY is silent as she observes the exchange between the two agents. DOGGETT'S cell phone rings ) DOGGETT: Excuse me. (to his cell phone:) John Doggett. REYES: Agent Scully, have you ever sensed what I'm talking about? SCULLY: I've felt things that I couldn't understand. Things I was afraid to admit even to myself. REYES: And what did you do? SCULLY: I learned not to ignore it. To trust my instincts. DOGGETT: Yeah, thanks. (DOGGETT hangs up.) REYES (to DOGGETT): What is it? DOGGETT: Mental hospital, a hundred miles from here. They think one of their patients did this. SCENE #6: [UNKNOWN OUTSIDE] (Clouds roll by in a time-lapse motion while below, a white truck rolls by across the scene in real time.) (The white truck pulls up between some bushes in what is presumed to be a remote area. Two men sit in the front. They each grab their respective masks and exit the truck. The driver has a cord of rope. They slowly make their way out of the truck.) SCENE 7: CHESSMAN STATE MENTAL HOSPITAL KITSONVILLE, WEST VIRGINIA (Three figures make their way across the large lobby of the mental hospital.) DR. SAMPSON: We're pretty shaken up. We're still trying to determine how he could've escaped. DOGGETT: Why do you think this escaped patient Kenneth Richman was involved in these murders? DR. SAMPSON: Dr. Richman was committed here because he killed three patients. He had sewn strychnine tablets into their stomach lining in surgery. When I heard about the snakes... REYES: The police believe two men committed this crime, Dr. Sampson. DR. SAMPSON: Two men? DOGGETT: Do you have any idea who the second man might be? DR. SAMPSON: No, he didn't exactly keep pen pals. REYES: Did Dr. Richman display any knowledge of satanic lor or speak of demonic possession? DR. SAMPSON: No. He was perfectly cogent. He didn't suffer from those kinds of delusions. REYES: I'm not really asking about delusions. When you last spoke to him did he seem himself? DR. SAMPSON: Seem himself? REYES: I mean, did he display a personality other than his own -- speak in tongues or any language he didn't know? DR. SAMPSON: You're asking me if he was possessed? This is the 21st century, Ms. Reyes. We stopped looking a long time ago for demons to explain mental illness. REYES: I'm not really talking about mental illness. GUARD: Dr. Sampson? DR. SAMPSON: Excuse me a moment. DOGGETT: You know, Monica, a room here just came open. REYES: You heard what she said. Dr. Richman didn't know anything about satanic ritual. DOGGETT: And that proves he was possessed? REYES: You explain to me how else he commits a crime that's a perfect example of it. DOGGETT: Let's try the obvious: It was his accomplice. DR. SAMPSON: Agents? I, uh, think the man you're looking for might be Paul Gerlach. DOGGETT: Is he a patient here? DR. SAMPSON: No. He's a guard. He's been with us 12 years and no one can find him. REYES: Who would be the last person who saw them together? (DR. SAMPSON indicates that they should follow her.) SCENE #8: [UNKNOWN OUTSIDE] (The two men walk. They walk through the water-soaked grass and through puddles. The one behind is carrying the cord of rope. When they reach their destination, he drops the rope to the ground. The other man wearing the mask continues walking till he is some distance away. He stops and turns around. Like two long gunfighters at a shootout, they pause and face each other. The driver, who was carrying the rope, pulls out a handgun and fires.) SCENE #9: [JOSEF KOBOLD'S SMALL PADDED ROOM] (JOSEF KOBOLD sits alone in his room. His eyes are closed. Just before DOGGETT and REYES enters the room, he opens his eyes as if he knew they were coming. DOGGETT walks into the room. REYES lingers by the closed door. KOBOLD is sitting with this back to the door and facing the wall. His back is straight. As the agents speak, he does not turn around.) DOGGETT: Mr. Kobold, my name is John Doggett. This is Monica Reyes. We're with the FBI. REYES: The patient in the cell next to yours escaped last night. Did you see or hear anything? You shared the same guard, Mr. Kobold. Do you know anything about their relationship why he would've helped him to escape? KOBOLD: You mean, did the guard force the patient to escape ? ... or did the patient force the guard ? ... or are they both of one mind ... like a snake ... eating its own tail? DOGGETT: You know something about this, Mr. Kobold? If you do, we need your help to stop them before they hurt more people. KOBOLD: You're too late for that. DOGGETT: If you're afraid to help us, Mr. Kobold we can protect you. No harm will come to you. KOBOLD: Do you believe in the power of the devil, Mr. Doggett? DOGGETT: I believe that the devil's a story made up to scare people. KOBOLD: Then, how can you possibly protect me? SCENE #10: [HALLWAY OUTSIDE KOBOLD'S ROOM] (The two agents are leaving the interview with KOBOLD.) DOGGETT: Consider the source, Monica. SCENE #11: (It's dark. Birds calling and insects buzzing. The light from the white truck shines on a long man wiping his hands with a piece of cloth. He drops the blood-soaked cloth carelessly onto the ground. Inside the truck, the man sits. He's masked and we hear multiple voices whispering. The whispering grows louder and louder.) (The camera lingers on the masked man in the truck. It seques to Josef KOBOLD alone in his room whispering.) (COMMERCIAL SET) SCENE #12: [CHESSMAN STATE MENTAL HOSPITAL] (DR. SAMPSON, REYES and DOGGETT are walking toward KOBOLD's room.) DR. SAMPSON: he's been calling for Agent Doggett for the past hour. He's extremely agitated. DOGGETT: Has he said why? DR. SAMPSON: He keeps saying, "prince of the apostles" over and over again. I don't know what it means. I've had to restrain him for his own safety and I thought it best not to sedate him till you speak to him. (DR. SAMPSON holds the door open and DOGGETT and REYES enter to see KOBOLD lying on a gurney. His hands, chest, forehead and legs are restrained.) DOGGETT: Mr. Kobold, it's John Doggett. KOBOLD: He's speaking to me ... whispering in my ear. DOGGETT: What's he saying to you, Mr. Kobold? KOBOLD: He's ... killed again. REYES: Who? KOBOLD: I don't know ... but I can show you. (DOGGETT watches the exchange between REYES and KOBOLD. He's skeptical.) SCENE #13: [OUTSIDE, PLACE UNKNOWN] (Two cars park in the clearing. DOGGETT and REYES exit the cars. DOGGETT turns to open the car door behind him while REYES takes a look around. KOBOLD in his hospital garb, thin slippers and prison chains exits the back seat. He takes a couple steps out and raises his head toward the sun.) KOBOLD: You can't know what it feels like ... being free of that cage to see the sky above me. (DOGGETT's not buying it.) DOGGETT: All right, where is he, Mr. Kobold? KOBOLD: There. I can take you. (KOBOLD takes a step forward to show them. DOGGETT'S hand immediately stops him. He pulls KOBOLD back to the vehicles.) DOGGETT: That's far enough. Take him back to his cage now. Agent Reyes? (The two agents make their way in the direction KOBOLD indicated.) REYES: You think he's making it up? DOGGETT: Uh, yeah. REYES: That was a pretty convincing show back there. \ DOGGETT: He's playacting, Monica. Just 'cause he's good at it, doesn't make it true. REYES: Why do it? DOGGETT: Maybe he wants some fresh air. Maybe he gets off sending the FBI on snipe hunts. (REYES stops and looks up. She sees something.) REYES: I don't think that's it. (DOGGETT looks up and sees a body hung suspended by a rope to a tree. The body swings upside-down in the air. The rope creaks.) SCENE #14: [AUTOPSY BAY] (SCULLY cuts away the mask from the body.) DOGGETT: That's the security guard -- Paul Gerlach. SCULLY: It appears he was shot in the chest. His body was staged postmortem, just like the others ... DOGGETT: Someone likes to play games. REYES: Or not. "Prince of the Apostles" -- Kobold kept repeating it in his cell. SCULLY: St. Peter. He was said to have been crucified upside-down. REYES: A symbol later adopted by the Satanists to mark the power of the anti- christ. DOGGETT: Which you take as proof the devil possessed the surgeon and somehow put him in contact with Kobold. REYES: It's part of the literature. He could be a medium, a willing host for Satan communicating with Kobold. DOGGETT: Well, that's convenient. REYES: He brought up the devil and the snakes. No one told him the details of the crime and yet he knew. DOGGETT: That's 'cause he planned it. I pulled his file. This guy's a master manipulator. He was a history professor at the University of Miami committed for grinding up six co-eds that he tricked into his basement. He used their flesh ... as fertilizer in his garden. REYES: If Kobold's part of this, then why is he still behind bars? Why not escape when he had the chance? DOGGETT: I don't know yet. You believe this guy, Agent Scully? SCULLY: I haven't formed an opinion about it yet, actually. (DOGGETT sighs.) DOGGETT: That's great ... just great. (REYES walks past DOGGETT.) Where are you going, Monica? REYES: This man Kobold can help us, John.. I'm going to prove it to you. (MONICA leaves. DOGGETT looks at SCULLY, who hasn't said anything.) SCENE #15: (Thunder rumbles and clouds roll in a time-lapsed sky. The camera segues to Kobold.) SCENE #16: [KOBOLD'S ROOM] (REYES and DOGGETT enters the room. KOBOLD is sitting on the floor. REYES: Professor. KOBOLD: You found the body. REYES: Yes. Professor Kobold, we need your help to find him before anyone else gets hurt. KOBOLD: I can't. DOGGETT: You can't or you won't? KOBOLD: I can't ... in here. He whispers to me in a thousand voices but they're so hard to hear. (DOGGETT watches KOBOLD with skepticism.) REYES: What can we do... to help you hear? KOBOLD (rises): I need a larger room... one with space... and windows... to see the sky. (REYES watches KOBOLD and she suddenly leaves the room. DOGGETT trails behind.) DOGGETT: You're not going along with this, are you -- giving this guy what he wants? REYES: That was my general idea, yeah. DOGGETT: You're making a mistake. REYES: Look, even if you're right, even if this man is faking it he can help us. I'm not willing to turn my back on that. Are you? (DOGGETT is silent. REYES goes off to make the arrangements.) SCENE #17: [CHESSMAN STATE MENTAL HOSPITAL PARKING LOT] (DR. SAMPSON walks out toward her black car parked on the side of the street. She gets in and drives away. The white pickup truck parked nearby follows. SCENE #18: [KOBOLD'S NEW ROOM] (KOBOLD is sitting on a chair in a large room. There is only the chair and the bed in the sparse white room. KOBOLD is dressed in the hospital white. There are large windows and plenty of light streaming in to the room. KOBOLD is facing the window. DOGGETT and OFFICER CUSTER walk in. DOGGETT: This is Officer Custer. He's going to keep an eye on you. (KOBOLD rises from his chair, turns and faces the two men.) KOBOLD: I'm familiar with Officer Custer. CUSTER: I'll be right outside the door if you need anything, Professor. (CUSTER turns to leave with DOGGETT but stops when KOBOLD speaks.) KOBOLD: Agent Reyes believes me but you don't, Mr. Doggett. DOGGETT: Doesn't matter what I believe. (DOGGETT turns to leave with CUSTER but stops when KOBOLD speaks.) KOBOLD: I'm wondering ... (KOBOLD begins to walk as he speaks.) ... why a skeptic such as yourself would accept an assignment to an obscure unit of the FBI devoted exclusively to the investigating of paranormal phenomena. DOGGETT: You been checking up on me, Professor? KOBOLD: Ordinarily men don't pursue occupations against their own inclination unless there's some strong countervailing reason -- seeking the love or approval of a woman, perhaps. Agent Reyes may have affection for you ... but you for her? Of course, it could be someone else or something else some ... dark secret from your past ... DOGGETT: That's enough. KOBOLD: ... An unsolved tragedy for which you feel responsible in some morbid way you haven't even admitted to yourself. Perhaps you feel that chasing ghosts will answer the questions which damn you. DOGGETT: I don't have time for this. KOBOLD: Tell me if he says anything. (DOGGETT turns to leave. He makes it all the way to the door when CUSTER sees something.) CUSTER: Agent Doggett ... (Multiple voices can be heard whispering. KOBOLD goes into a kind of a seizure.) DOGGETT (to CUSTER): Agent Reyes ... get Agent Reyes. SCENE #19: [DR. SAMPSON'S HOME] (DR. SAMPSON returns home. Outside, the white pickup truck parks outside her curb.) SCENE #20: [KOBOLD'S ROOM] (The whispering continues. REYES bursts into the room. DOGGETT is holding KOBOLD down. Something is injected into KOBOLD's arm.) REYES: he's saying something. (REYES leans in closer, straining to hear him) KOBOLD: Medicus. REYES: "Medicus." Physician. SCENE #21: [DR. SAMPSON'S HOME] (The white pickup truck leaves. A stream of sheriff's cars stop at her home. They burst through her door looking for her.) DOGGETT: Dr. Sampson! (REYES enters DR. SAMPSON's office. She sees something and stops.) REYES: John. (DOGGETT immediately joins REYES. They see the back of DR. SAMPSON sitting at her desk.) DOGGETT: Dr. Sampson? (DOGGETT reaches out and turns her chair around. DR. SAMPSON is dead. There are about a dozen hypodermic needles stuck in her face. REYES is horrified.) SCENE #22: [DR. SAMPSON'S HOME] (DOGGETT watches as the gurney carrying DR. SAMPSON rolls by him. REYES follows the gurney. DOGGETT looks at KOBOLD sitting in the car. He knows KOBOLD is responsible for this. SCULLY approaches DOGGETT with some information. DOGGETT hasn't taken his eyes off of KOBOLD.) SCULLY: The syringes contain droperidol. That's the same anti-psychotic medication that she was giving to Dr. Richman. DOGGETT: He's not the one calling the shots. SCULLY: You still think that it was Kobold? DOGGETT: This is not about demons. It's not about demonic possession. It's about men. SCULLY: Agent Doggett, have you considered that something else might be going on here? DOGGETT: I heard you say it, Agent Scully. I heard you tell a classroom full of FBI cadets. Most evil in the world comes from men. SCULLY: But I also said that when science fails we have to consider extreme possibilities. (KOBOLD hasn't taken his eyes off of DOGGETT and SCULLY.) I know what you're feeling. I know your frustration. But you can't let it cloud your objectivity. DOGGETT: Agent Reyes is thinking just what this guy Kobold wants her to think and now you are, too. (DOGGETT walks away. SCULLY looks over at KOBOLD who is staring intently at SCULLY. Whispering voices can be heard in the background.) SCENE #23: [KOBOLD'S ROOM] (CUSTER enters KOBOLD's room. KOBOLD is sitting on the floor. His back is to the door and he's facing the window.) CUSTER: professor, you done with this meal? (KOBOLD doesn't respond. CUSTER picks up the food tray and leaves. DOGGETT enters the room.) DOGGETT: I brought you something, Professor. Something to read. It's a monograph you wrote six years ago. You know the one I'm talking about, professor? About the influence of Satan in renaissance thinking. (KOBOLD slowly stands up.) KOBOLD: So, you've found your proof circumstantial though it may be. DOGGETT: You planned this whole thing. I want to know why. KOBOLD: I've been thinking a lot about you, Agent Doggett. DOGGETT: You're not answering my question, Professor. KOBOLD: About why someone so ill-suited would draw this duty. Clearly, you have feelings for her. DOGGETT: You ordered Dr. Richman to kill these people, didn't you? (KOBOLD slowly makes his way toward DOGGETT.) KOBOLD: But you can't compete with the long-lost Agent Mulder. His easy good looks. His oxford education ... DOGGETT: This is about you, Professor! KOBOLD: Mulder has what you can't have but you stumble forward, the flat-footed cop thinking he can put handcuffs on a demon. DOGGETT: Answer the question! KOBOLD: You want her but she feels sorry for you. They both do. (DOGGETT grabs KOBOLD. A thick orange goo spews from KOBOLD's mouth in a continuous stream directly onto DOGGETT. DOGGETT lets KOBOLD go and takes several steps back. KOBOLD clutches his stomach, but it still comes out continuously. DOGGETT leaves him to move toward the door.) DOGGETT: Guard! (KOBOLD falls to his knees, the orange goo still pouring from his mouth.) DOGGETT: Guard, we need a medic! (KOBOLD falls on his back, the orange goo still pouring from his mouth. DOGGETT: Guard! We need a medic! Guard! (KOBOLD shakes violently on the floor. The orange goo still spewing.) SCENE #24: [CHECK UP ROOM / HALLWAY] (SCULLY is examining KOBOLD. CUSTER stands next to him. She says a few words to him. CUSTER escorts KOBOLD away. REYES stands out in the hallway observing this through the window. She leaves and meets DOGGETT in the hallway. DOGGETT has changed into a fresh shirt.) REYES: She's coming. (SCULLY joins them.) SCULLY: As far as I can tell, physically, he's fine. DOGGETT: Of course he is. SCULLY: What brought this on? DOGGETT: The guy's an expert in satanic history. I confronted him on it. REYES: Which proves what? DOGGETT: Come on, Monica. You wanted to know who could stage a textbook example. This guy wrote the damn book. REYES: I can't explain those voices we heard in his room, or this. (REYES holds up a sample of the orange goo.) DOGGETT: It's a trick. REYES: What if it's ectoplasm? DOGGETT: Ectoplasm? REYES: You've heard of it, Agent Scully? SCULLY: Agent Mulder used to refer to it as "psychic plasma" a residual byproduct of telepathic communication. In theory, it would have inorganic properties that couldn't be explained otherwise. DOGGETT: So what are we talking now, the ghostbusters? REYES: If I'm right, an analysis of this sample could prove if he's telling the truth or faking it. DOGGETT: You can throw that crap away 'cause I can tell you right now, this guy's a liar. He's playing a game. SCULLY: Well, then, let's just see how well he plays that game. DOGGETT: Why, so you can get suckered in even more? Listen to you two! SCULLY: Agent Doggett ... DOGGETT: Listen, I'm telling g you this guy threw this stuff up for our benefit. He knew exactly what you'd say. He knew exactly what I'd say. He even knew that the two of you would be so blinded by this hocus-pocus that you wouldn't see what's in front of your faces! SCULLY: Agent Reyes is just trying to get to the truth, okay? What are you doing? (SCULLY is clearly annoyed and walks away.) REYES: Maybe this is a hoax. Maybe you're right. But now you're saying we should turn away from evidence? That's not like you, John. I don't understand why. DOGGETT: I-I already told you why. (DOGGETT walks away and toward KOBOLD's room. He peers in through the little glass door in the window and sees KOBOLD sitting on the floor. His back is to the door, he's facing the window and sitting in the sunlight. He walks away.) SCENE #25: [CHESSMAN STATE MENTAL HOSPITAL] (Day turned into night. Outside the thunder rolls. CUSTER is sitting outside KOBOLD's room door reading an issue of "AMERICAN RONIN" magazine. He hears whispering, puts the magazine down and checks in on KOBOLD. Amidst the thunder and lightening flashes, KOBOLD stands in the middle of the room. He's facing the door way, the chair behind him. As CUSTER watches, KOBOLD's face morphs into the demonic mask.) SCENE #26: [SCULLY'S CAR] (SCULLY's driving home from work. Her cell phone rings.) SCULLY: Scully. DOGGETT: Agent Scully, I tried to reach you at Quantico. SCULLY: I'm on my way back to DC. What is it? DOGGETT: Kobold-- he told the guard he knows where we can find Dr. Richman to end this thing. SCULLY: Where? DOGGETT: That's just it -- it sounds like a joke. Another game. It's a place called happy landing. (SCULLY'S silent. She recognizes the name of the place.) Scully? SCULLY: On the state road 710, near Annandale. DOGGETT: What are you talking about? SCULLY: There's an old marina there. I pass it on my way home. In fact, I'm almost there right now. DOGGETT: State road 710, near Annandale. All right, we're going to meet you there. SCENE #27: [HAPPY LANDING NEAR ANNANDALE] (SCULLY's car drives up to the docks. She gets out of the car to have a look around. SCULLY takes a few steps along the docks. She pulls out her gun. She hears creaking behind her. She turns around and no one's there. Behind her, Dr. Richman in his mask appears. SCULLY hears something, turns around and he knocks her out.) (COMMERCIAL SET) SCENE #28: [HAPPY LANDING NEAR ANNANDALE] (Police sirens sound as cars approach Happy Landing. DOGGETT, REYES and other police officers exit the cars. REYES looks at SCULLY's car. It's empty.) REYES: Where is she? DOGGETT: I don't know but I know who does. (DOGGETT reaches KOBOLD, who is sitting in the car.) Where is she, Professor? KOBOLD: Game's over, Mr. Doggett. DOGGETT: Tell me where she is right now, you son of a bitch or I swear I'll kill you where you sit. REYES (softly): John... KOBOLD: You've lost. (DOGGETT's out of patience. He grabs KOBOLD.) DOGGETT: Where is she?! (From one of the buildings, a gunshot is heard. Both REYES and DOGGETT run toward one of the buildings. In the corner, a small group of sheriff's men are standing over a body. DOGGETT and REYES slowly approach fearing that it is SCULLY. It is DR. RICHMAN. Realizing that it isn't SCULLY, DOGGETT calls out to her.) DOGGETT: Agent Scully?! SCULLY: Agent Doggett, over here. (SCULLY is standing off to the side with another officer.) DOGGETT: I don't understand. SCULLY: He held me at gunpoint until you arrived and then he shot himself. REYES: It doesn't make sense. (DOGGETT realizes that they've been tricked.) DOGGETT: Yes, it does. The game's over. (DOGGETT runs back to the docks where they left KOBOLD, hoping that he'll get there in time to stop him from escaping. The door of the car where KOBOLD sat is wide open, the chains that bound him are on the ground. A man wearing hospital garb is running away.) DOGGETT: Joseph Kobold! Stop there! (DOGGETT draws his gun.) I am armed! I will shoot! (The man in the hospital garb continues to run. DOGGETT fires and hits the man. The man falls into the water. REYES and SCULLY reach DOGGETT as he peers over the side to see the body slowly sink under the water.) SCENE #29: [QUANTICO] ("Uncertainty" is written on the blackboard.) SCULLY: Uncertainty. No matter how thorough the investigation some doubts inevitably remain. Just as juries seek to convict beyond a reasonable doubt the forensic investigator will seek conclusions supported by a preponderance of evidence. Rarely will you encounter a case where all of the variables all of the open questions are fully answered. (The bell rings, the students close their books and leave.) SCULLY: I'll see you Monday. (SCULLY gathers her teaching materials. DOGGETT and REYES make their way down the stairs to her. REYES: Have you filed your report on this case yet? SCULLY: I was going to do it on my way home. REYES: We'd rather you didn't. DOGGETT: We haven't accounted for Kobold's actions. Not all of them. SCULLY: But Agent Reyes told me that Kobold accessed information about all of us over the internet. About Mulder, too. DOGGETT: Well, that explains how he knew we'd respond to the first killings -- why he staged them to look like satanic ritual to make sure that we would. SCULLY: He wanted us on the case. We know that. DOGGETT: He bent everyone to think and do whatever he wanted. (DOGGETT makes his way to the blackboard and writes "DAEMONICUS".) SCULLY: But we know all this already. It was a game. Every move was played out perfectly except the last one. REYES: Not unless that was part of the game, too. SCULLY: What, to get shot in the back? REYES: No. Kobold's body still hasn't been found. SCULLY: Kobold's dead. Agent Doggett shot him. We all saw that. DOGGETT: Did we? Get back to Agent Reyes's question. Why didn't Kobold escape with the others when he had the chance? Why? Because he wanted to escape without anyone knowing that he'd escaped so that by the time it was discovered he'd be too far away for anyone to find him. SCULLY: Satan. (FLASHBACK: DOGGETT enters KOBOLD'S first cell. He walks all the way in, stops to where KOBOLD was sitting and turns around to face the door. DOGGETT pulls out a ripped folded page of a telephone book hidden inbetween the padding covering the walls. The names of "DARREN and EVELYN MOUNTJOY" were circled.) DOGGETT: "Daemonicus" -- the beginning and end of our case. A snake eating its own tail. We lost. Kobold told me so. He wanted us to see how brilliantly he played the game. How thoroughly we lost. The first victims, Darren And Evelyn Mountjoy. SCULLY: Chosen from the phone book. For what reason? DOGGETT: No reason, other than their names. (DOGGETT turns to the blackboard and underlines the letters "D-A-E".) SCULLY: And the third victim? DOGGETT: The doctor, Monique Sampson. (DOGGETT turns back to the blackboard and underlines the letters "M-O-N-I".) DOGGETT: And the last the man whose body is at the bottom of that river. (A body is being lifted out of the water on a gurney lift of some sort.) SCULLY: It's not Kobold. (The body is that of the guard assigned to KOBOLD.) DOGGETT: The guard we assigned him -- the guard he knew he'd have once we transferred him. SCULLY: Custer. DOGGETT: Checkmate. (DOGGETT makes his way up the stairs and out of the classroom. SCULLY is left looking at "DAEMONICUS" on the blackboard. REYES is thoughtful. Both women turn and watch DOGGETT leave. SCULLY notices REYES's silence and her thoughtfulness.) SCULLY: Something still bothering you, Agent Reyes? You don't believe his explanation? REYES: It all makes sense to me as far as it goes, but there's something else. Something he's afraid to explain. SCULLY: You mean that you felt the presence of evil? REYES: No. I mean that he felt it, too. (In the background voices are whispering. The camera segues to clouds rolling in a time-lapse manner. Fade to black.) ========================== THE END ========================== [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. Captioned by media access group at WGBH access.wgbh.Org For corrections / inaccuracies contact: steph@philedom2k.com Transcriptor: intrepid (intrepidly001@yahoo.com) and ========================== TV BEGINNING CREDITS & OS SITE CAST INFORMATION (where available) ========================== 9X03: DAEMONICUS #9ABX03 ORIGINAL AIR DATE: 12/02/2001 WRITTEN AND DIRECTED BY FRANK SPOTNITZ Starring: GILLIAN ANDERSON as Special Agent Dana Scully ROBERT PATRICK as Special Agent John Doggett ANNABETH GISH as Special Agent Monica Reyes Created by Chris Carter Guest Starring: JAMES REMAR as Josef Kobol ANDI CHAPMAN as Dr. Monique Sampson SARAH BENOIT as Evelyn Mountjoy TIM HALLIGAN as Darren Mountjoy JAMES REKART TROY MITTLEIDER Music by MARK SNOW Editor: CHRISTOPHER COOKE, A.C.E. Production Designer: COREY KAPLAN Director of Photography: BIL ROE, ASC Producer: TONY WHARMBY Producer: HARRY V. BRING Supervising Producer: DAVID AMANN Supervising Producer: PAUL RABWIN Co-Executive Producer: KIM MANNERS Co-Executive Producer: MICHELLE MacLAREN Executive Producer: KIM MANNERS Executive Producer: VINCE GILLIGAN Executive Producer: FRANK SPOTNITZ Written and Directed by FRANK SPOTNITZ ========================== TELEVISION ENDING CREDITS ========================== Executive Producer: CHRIS CARTER TEN THIRTEEN PRODUCTION (in association with) 20TH CENTURY FOX TELEVISION: A NEWS CORPORATION COMPANY Associate Producer: DENISE PLEUNE Executive Story Editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-Starring: Officer Custer: LOU RICHARDS FBI Cadet: ROBERT BECKWITH Forensic Tech: RUEBEN GRUNDY Police Photographer: SHANE NICKERSON Guard: ELLIHA MAHAR Casting by: Rick Millikan, C.S.A. Unit Production Manager / Co-Producer: Tim Silver First Assistant Director: Barry K. Thomas Second Assistant Director: Nina Jack Visual Effects Producer: Mat Beck Art Director: Sandy Getzler Set Decorator: Tim Stepeck Assistant Set Decorator: Ron Franco Leadman: Dave Napoli Script Supervisor: Carol Banner Gaffer: Jono Kouzouyan Key Grip: Tom Doherty Special Effects: Bob Calvert Stunt Coordinator: Danny Weselis Visual Effects Supervisor: John Wash Make-up Department Head & Special Make-up: Cheri Montesanto-Medcalf Special Make-up: Mathew W. Mungle Hair Department Head: Dena Green Make-up for Ms. Anderson: Laverne Munroe Costumer for Ms. Anderson: Nadine Haders Costume Designer: Luellyn Harper Thomas Costume Supervisors: Robert Jacobs / Jennifer Soulages Property Master: Tom Day Camera Operator: Jim Etheridge Steadicam Operator; Stephen Collins Location Managers: Ilt Jones / Mac Gordon / Michelle Latham Transportation COordinator: Steve Duncan Construction Coordinator: Duke Tomasick Sound Mixer: Ron Cogswell Production Accountant: Nanci Etchells Production Coordinator: Jason A. Schomas Script Coordinator: Michael Daley Researcher: Katrina Cabrera Ortega Writers' Assistant: Gabe Rotter Post Production Coordinator: Jason Harkins Original Casting by: Randy Stone, C.S.A. Casting Associate: Kimberly Nordlinger Casting Assistant: Elisha Gruer Extra Casting: Central Casting & Cenex Second Unit Director of Photography: Bob Labonge First Assistant Director: Xochi Blymyer Second Assistant Director: Cheri Bradford Gaffer: Tony Bixby Key Grip: Joey Kraft Sound Mixer: Gary Thomas Assistant Editors: Deborah Chalew / Jeff Cahn Scoring Mixer: Larold Rebhun Music Editor: Jeff Charbonneau DaVinci Colorist: Anthony R. Smith Dallies Colorist: Peter Ritter On-Line Editors: Kip Gibson / Marty Rosenstock Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS / JOE JOHNSTON Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / SAM BLACK Vice-President, Ten Thirteen: MARY ASTADOURIAN Office Manager, Ten Thirteen: JANA FAIN Assistant to Chris Carter: BRAD FOLLMER Assistants to the Producers: SANDRA TRIPICCHIO / GENNIFER HUTCHISON / BLAKE MCCORMICK / GINGER WADLEY / STEPHANIE M. HERRERA Main Title Design by IMAGINARY FORCES Original Main Title Concept by: CASTLE / BRYANT / JOHNSEN Processing by DELUXE LABS Telecine & Electronic Assembly by HOLLYWOOD DIGITAL Presented in DOLBY SURROUND where available Camera Systems by PANAVISION This production has not been approved, endorsed, or authorized by the Federal Bureau of Investigation. Copyright (c) 2001 Twentieth Century Fox Film Corporation All rights reserved #9ABX03 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and events depicted in this photoplay are fictitious. Any similarity in actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any other unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability.