E-mail author about this story
a teleplay by Abbie Anderson (amanders@att.net)
originally completed 8/23/94; last revised 11/9/99 (minor edits)
Second instalment in a three-episode outline intended for the beginning of the second session, written before the second season aired; meant to be the third or fourth episode of the new season.
Summary: Scully's alien "doctor" reaches out to Mulder in his dreams, while the FBI assigns him to a team pursuing a serial killer who appears to be re-enacting Aztec human sacrifices.
Disclaimer: The universe of the X-Files and the characters therein are the intellectual property of Chris Carter, Fox Broadcasting, and Ten-Thirteen Productions, and have been used without permission. No copyright infringement is intended, I'm just having a good time. If you like what I've done, feel free to share it, but of course do give me credit for it and provide the sharees with my e-mail address. If it provokes a reaction, positive or negative, please let me know: I crave feedback! Constructive criticism especially welcome.
Formatting reduced for posting to Internet. E-mail author to request hard copy in teleplay format.
Notes re: conventions of teleplay format:
"INT."="interior" (i.e., a scene set indoors)
"EXT."="exterior"
"V.O."="voice-over" (i.e., the line is not spoken by a character in the scene, but is heard superimposed on the action--as in a narrator's voice, a voice on the telephone, or when we "eavesdrop" on a character's thoughts)
I have not fully conformed with teleplay format standards (for instance, character's names in "stage directions" are not in all-caps; sound effects and special effects are not marked, for the most part), nor am I good with camera angles or other technical aspects that ought to be in a serious teleplay. I'm definitely an amateur, here, and it shows.
FADE IN:
1. INT: FBI CONFERENCE ROOM
PAN across table during opening speech, observing those present. Mulder and two other agents are seated, Mulder off a little to the side, not quite a part of the group. He looks resigned but relatively cheerful. Addressing them is an older woman with wire-rim glasses and short, curly, graying hair. The detached, professional manner with which she speaks belies a furious intellectual energy, and a certain sadness behind the eyes. Her team-members listen to her with respect and a level of gallows humor. Her name is Janet Terpenning, and she is the leader of an FBI team investigating a rather nasty string of murders in the D.C. area.
TERPENNING
Good morning, people. I hope you're awake: we have a lot to cover. We have a new victim to discuss. This is the most
elaborate one so far--our killer is starting to get artistic about it.
Terpenning hands the agent nearest her a photo of the crime scene, which is passed around. As Terpenning continues, it is passed to Mulder: FOCUS on picture. It shows a back-alley dumpster with strange glyphs painted on its front, and a pool of blood on its top next to an edge. Blood is spattered over the dumpster's side, leading to a body lying face-down on the ground.
TERPENNING
This is the fourth body found in the D.C. area in the last three weeks with its heart ripped out. Fragments of flint were found in the chest wound again, so the weapon of choice is still a stone knife or blade of some kind. The symbols painted on the dumpster are the newest wrinkle, further indicating the probably ritualistic nature of these killings. The body of the victim has been identified as that of Vincent Black, a homeless man who was well-known at the local shelters. Mr. Black was found by city sanitation engineers at 5 A.M. this morning, his body face-down next to the dumpster as you see here. Approximate time of death has been estimated at 2:30 A.M. Flesh has been cut from the left arm and right thigh of the body, and was apparently taken away from the crime scene. Our killer certainly isn't shy about leaving his or her victims on display. Once again we failed to retrieve any useful prints off the body or the site. Whoever our perpetrator or perpetrators are, they have a stone knife, are carrying or have otherwise disposed of approximately two pounds' worth of Vincent Black, and either don't have a criminal record or they wear gloves.
Mulder speaks up.
MULDER
Maybe they're HIV conscious. You get a lot of blood all over when you tear somebody's heart out of their chest. Not that I would know from experience.
He adds the last sentence when the others look at him a little funny.
TERPENNING
That brings me to point two on the agenda. This is Agent Fox Mulder: he's just been assigned to our team. You may have heard of him. He's a fine agent; I expect solid results. Make use of him, and share with him everything you know. We've not been formally introduced, Mr. Mulder: Janet Terpenning, team leader for this investigation. Meet your team-mates, Sam Robinson and Mike Lee.
Terpenning initiates a round of handshakes with Mulder.
TERPENNING
Now, down to business. Robinson, I want you to go down to the shelters and find out everything you can about Vincent Black, particularly what his actions were last night and who saw him last, whether he was with anybody. Take your charm out on the streets and canvass that neighborhood, see if anyone noticed somebody being sacrificed on that dumpster in the middle of the night or saw the psycho with the stone knife. Lee: talk to the garbage truck guys, find out what they can tell you about the crime scene, then go down to the morgue and go over this autopsy report with forensics. Mulder is new to this: I'll go easy on him and have him look into those symbols and give him time to cover what we've already got. Any questions? Good. Class dismissed.
The others start to leave; Terpenning steps to Mulder and puts a hand on his shoulder before he can get up.
TERPENNING
Stay here a minute, Mulder. I want a word with you.
Terpenning ushers the others out and closes the door behind them. She comes back and leans against a desk facing Mulder, folding her arms.
TERPENNING
I have my reasons to dislike your assignment to my team, Mr. Mulder, and contrary to what you're probably thinking they have nothing to do with your reputation. I expect hard work from you, and I expect good work. I want an initial report from you on my desk first thing tomorrow morning, including your analysis of what we've got so far and what you find out about those symbols.
MULDER
Of course.
She goes out; Mulder is not particularly looking forward to this.
FADE OUT.
FADE IN:
2. INT: TERPENNING'S OFFICE
Terpenning is seated, drumming her fingers on the desktop. Mulder's report is on the desk in front of her. Mulder enters.
MULDER
You wanted to see me, ma'am?
TERPENNING
Sit down, Mulder.
He does so, and waits.
TERPENNING
Agent Mulder, for someone who's supposed to be rebuilding his career, you're not trying very hard. I have rarely seen a more lukewarm report from an agent of your experience.
MULDER
If you'll pardon me, ma'am, I performed as per my assignment. I analyzed the case materials, and I researched those symbols. They are representations of the Aztec gods of war and rain, who have paired temples on the old pyramid in Mexico City. Human sacrifices similar to those involved in this case were regularly offered to them. I have an appointment tomorrow at George Washington University to learn more, and I'll be attending a lecture before that. I'm sorry if you're dissatisfied with my work.
Terpenning eyes him coldly, drumming her fingers again.
TERPENNING
Why do I get the feeling that I'm talking to someone who can't be bothered? (pause) Mulder, you're coming with me to forensics. I think you need to see what this case really looks like. Maybe that will motivate you.
CUT TO:
3. INT: FORENSICS LAB
Terpenning and Mulder are standing with a young-ish male medical examiner, who is shoving a body back into its morgue drawer. Mulder looks a bit peaked, and has taken off his jacket; internal human anatomy is not his favorite viewing.
MEDICAL EXAMINER (BURROUGHS)
You probably noticed that the wounds on these victims are not uniform. Your killer seems to be developing his technique as he goes. The first one in particular was extremely clumsy. He klunked his victim over the head with a fire extinguisher first, and then used the extinguisher to bash the chest in: not a very tidy way to go about removing somebody's heart. The vomit found at the crime scene indicates that somebody, possibly the killer himself, found the results rather unpleasant. His procedure has improved, however, possibly because he's put more thought into it. The first one looked a little un-premeditated, don't you think? As if he just decided to do it, and didn't have the right equipment with him.
TERPENNING
Burroughs, you have an annoying habit of thinking you have our cases figured out before we do.
Burroughs breezily ignores her comment.
BURROUGHS
There are basically four ways to get at the human heart if you're serious about it, two of which are relevant to these bodies. May I demonstrate?
Terpenning nods, a slight smile on her face. Burroughs steps up to Mulder and uses Mulder's chest as a drawing board as he speaks, poking Mulder with precise fingers and miming rather unpleasantly what he describes.
BURROUGHS
The most direct method is the left anterior intercostal approach. Surgeons today use it for open heart massage during cardiac arrest. You cut across from the sternum on the left side of the chest between the fifth and sixth ribs, spread the ribs apart and reach in for the heart. Without a rib-spreader you have a harder time holding the space open, but it's do-able. It's quick and effective, which helps if you're by yourself and your subject isn't cooperative, but it can be messy. If you're trying to remove the heart, as we are in this case, you really can't avoid mangling the thing since you can't reach all the connecting blood vessels but have to literally tear the heart out manually. That's what we saw in the second and third victims.
Burroughs pauses, enjoying himself. Terpenning won't meet Mulder's eyes, studiously attending Burroughs' demonstration of heart-extraction as acted out on Mulder.
BURROUGHS
Your best shot for removing the heart from a conscious subject is probably the bilateral transverse thoracotomy. Here you cut all the way across the chest at the edge of the sternum. This deflates the lungs, which not only makes your victim pass out but gives you a clearer path to the heart. It's even easier if your subject is stretched out in an overextended position, bent backwards over an edge of some kind, because the wound gapes wide open for better access, and the thoracic cavity can catch the blood. This is what we found with the latest victim; he was probably draped over the end of the dumpster. We don't know why the body was thrown off the dumpster afterwards--maybe it has something to do with those symbols. My point is that your killer, after that first botched attempt, seems to know how to go about this.
MULDER (drily)
Fascinating.
Terpenning gathers up her things; Mulder shrugs on his jacket, perfectly aware that Terpenning is aiming to intimidate him (and she's not doing such a bad job).
TERPENNING
Thank you, Burroughs. As always, your expertise is indispensible.
BURROUGHS
Glad to be of service.
Terpenning motions Mulder ahead of her. Burroughs takes her aside.
BURROUGHS
Thanks, Terp, that was fun. New guy?
TERPENNING
I just wanted to make a point.
CUT TO:
4. INT: TERPENNING'S CAR
They are on their way back to FBI Headquarters. Terpenning is driving, and engages the captive Mulder in not-particularly-welcome conversation.
TERPENNING
I've heard good things about your former partner. By all accounts she has a strong career ahead of her. Fresh out of the Academy when she started with you, wasn't she?
MULDER
She'd been teaching at Quantico for two years.
TERPENNING
I always enjoy taking new agents in hand. They have a lot to teach, as well as to learn. What did you think of her?
MULDER
What do you mean?
TERPENNING
Don't get defensive, Mulder. I'm asking your professional opinion of an agent you worked with.
Pause.
MULDER
Dana Scully has one of the finest analytical minds I've met in the Bureau. She's got more courage and more good sense than most people I know, which is an important combination in the field--especially for someone working with me. She's diligent and creative with research; she always gets answers. Rock-solid, razor-sharp, and she doesn't take any crap. I miss working with her.
TERPENNING
She apparently thought pretty highly of you, to stand up for you the way she did.
MULDER
I wouldn't know about that. Would you mind changing the subject? I'm trying to put my X Files days behind me, remember?
Terpenning pauses, glancing at him and smiling as she drives. She enjoys probing people's weak spots.
TERPENNING
I envy young agents like Scully today. The playing field is a lot more open for women than it was when I started out. High standards of professional behavior have always helped, but when I was young that usually just meant they wouldn't talk about my boobs 'til they thought I was out of earshot. There were constant challenges to my competence and commitment that were completely unrelated to my performance as an agent. You've probably experienced something similar with respect to your...unusual interests.
MULDER
They shut me down, Terpenning. I'd call that a challenge.
TERPENNING
Then you take my point. The frustration levels can get pretty high. For me, it just made me work harder. I was damned if anybody was going to see me cry, or see me slip for even a second. (pause) Today the pressures are more equal; being tough isn't so equated with being manly. Someone like Scully can be what we would have called "womanly" and still be recognized as the kind of agent you just described.
Mulder looks over at her, getting tired of this.
MULDER
I'm sure she'd be glad you approve.
TERPENNING
I don't just approve, I applaud. I applaud anybody's integrity and hard work. Especially in the face of opposition. In my day, if I had done for a male agent what Scully did for you, everyone would have assumed I was sleeping with him, or at least that I wanted to. Stand by your man, that kind of thing. Utter nonsense. The partner relationship can build very intense loyalties, irregardless of sex--sometimes to the detriment of loyalty to one's employer, or even to one's own best interests.
This is all a bit much.
MULDER
Why do I get the feeling I'm being grilled?
Terpenning smiles.
TERPENNING
Because you're paranoid, Mulder. I can't say that I blame you, after what's happened to you. But you don't want to talk about that. (pause) Things have improved a great deal for women in the Bureau. But it can still be lonely. There aren't that many of us, so more than likely you're going to be working with men most of the time, and if you're paired off it's usually with a man. Depending on the man, it can get a little sticky. A person can have thoughts, but she can't act on them. The feelings one has for one's partner can become pretty profound just by the nature of the work: this is someone you learn to trust with your life, who you know is smart, strong, and capable, and who trusts you in the same way. You might begin to think you want to trust him with your heart. And if the chemistry is right, then Heaven help you. It's easy to confuse professional intimacy for personal. The simplest thing is not to think of oneself in those terms at all, at least not until after hours and not anywhere near one's partner. It's just not safe, for anyone concerned.
MULDER
May I ask what your point is, Terpenning?
Terpenning's distant, analytical tone begins to soften.
TERPENNING
Let me tell you a story, Mulder. When I was a few years older than Scully is now, I was assigned to work with a very important man, as a kind of FBI liaison. This man and I became close friends. We started to trust each other, to share secrets--of which this man had quite a few. Very much against our principles, Mulder, we found ourselves needing each other. And we did a very foolish thing. We became lovers. A relationship which we maintained with more or less passion and exquisite discretion for nearly twenty years.
After a moment's reverie Terpenning continues, a mix of tenderness and bitterness at the back of her voice.
TERPENNING
Neither of our careers suffered appreciably. He remained a very important, very powerful man; and I made my way through the ranks. But it made us sentimental. We began to think differently about our work because we had this secret thing, this love, to change the world for at least a little. That sentimentality finally cost him his life, Mulder. Now I'm the one left holding his bag, and I don't know how to dispose of it properly. I don't like it.
MULDER
I have no idea what you're talking about.
TERPENNING
You will.
They have arrived in the FBI parking garage. Terpenning pulls in and sits there a moment, not yet getting out of the car and not looking at Mulder.
MULDER
Why are you telling me all this?
She turns to face him.
TERPENNING
Because, Mulder, you are moping. You're keeping up all right, but you're not stretching. You need to know you're not the first agent whose life was disrupted by service to the FBI. I can tell you right now that you're not doing Scully any favors by refusing to focus on your work. If you care about seeing her again, you'll start paying attention to what you're doing.
She gives him a significant look and gets abruptly out of the car before he can respond. Mulder, stunned, takes a moment to follow. She is walking quickly away and he calls after her:
MULDER
Terpenning, was that a threat? What do you know about Scully? Terpenning!
Terpenning does not turn around as she answers, holding up the case files she has in her hand.
TERPENNING
I want results on this case, Mulder! You're not getting anything from me 'til I get something from you!
Reaction.
CUT TO:
5. INT: MULDER'S APARTMENT, NIGHT
Mulder comes home late from his long day. He sets his things down and takes off his tie. He's unbuttoning his shirt when he notices the message light on his answering machine and pushes the playback button. The tape shuttles back, and it's Scully's voice; as he listens, Mulder slowly sits down, resting a hand on the machine.
SCULLY (V.O. [tape])
Dammmit, Mulder, I don't want to talk to your answering machine! I don't know when they'll let me try this again. It's Scully. I'm fine, all things considered. I still don't know where I am, not that it matters since I can't leave the grounds around this building. (pause) You said something once about wanting to see me high. Well, Mulder, you're missing the show. They've had me on some kind of hallucinogen. I don't know whether it's to expand my mind or the baby's, or just to keep me entertained, but I won't be able to argue with you about reality any more. I never knew there could be so many colors in my own hair--it's fascinating. (pause) But I have a friend here. An advocate. Just so you know I'm not completely on my own. I don't think I'm in any permanent danger. (pause) Hey, have you met that mutant woman yet? Be ready for me, Mulder, I've been practicing my tango.
A man's voice in the background: "That's enough."
SCULLY (V.O. [tape])
Goodbye, Mulder.
Click. Mulder blows out his breath as the tape rewinds.
FADE OUT.
FADE IN:
6. INT: LECTURE HALL, GEORGE WASHINGTON UNIVERSITY
Professor Douglas Thatcher stands in front of a large table with a sink on one end. On the table are several Aztec artifacts, including a sacrificial flint knife, an incense burner with a god's face on the front, and a statue of a jaguar with a depression in its back. Behind the table, the blackboard features a diagram of the Templo Mayor in Tenochtitlan (the ceremonial center of the Aztec capitol, now in the middle of downtown Mexico City); the two temples at the top of the central pyramid are marked: "Tlaloc, god of rain/harvest" and "Huitzilopochtli, god of war/the sun". The class consists mostly of undergraduates. Mulder is there as well, off to one side. Thatcher is a compelling speaker, someone who holds your attention by the power of his own belief in what he's saying. He wears a distinctive gold ring on his right hand, in the shape of a feathered serpent (Quetzalcoatl, Aztec culture hero and god of wind). The ring catches the eye as Thatcher gestures to accompany his speech.
THATCHER
In the Aztec world, blood was sacred. It was necessary to shed blood as an offering to the gods--not to feed a murderous appetite, but to participate in the renewal of the world at critical junctures in the interlocking cycles of time. The Aztec believed that the whole of time was divided into different eras of creation, each of which was marred by some inadequacy and ultimately destroyed in a cataclysm. The world was then reborn with a new god becoming the sun; the current era, the fifth, was to be the last. The sun of this present era was created when one god was brave enough to cast himself into a sacrificial fire, while all the others were too afraid; when it came time for him to rise and begin the new cycle of creation, he demanded the sacrifice of all the other gods' hearts and blood to fuel him for his task. This was done, and the example was set for the human servants of the gods, to repay self-sacrifice with self-sacrifice and ensure the continued rising of the sun. If you were a religious man, and the Aztecs were very religious people, the ritual of human sacrifice was the supreme moment of devotion, the moment when mere men and women had the severe responsibility of keeping the cosmos safe from chaos and darkness by repeating the sacrifice that fed creation.
Thatcher steps behind the table, reaches down and sets a stone block on its top, about two feet high. Then he turns off all the lights except one directly over the stone.
THATCHER
This was the stone of sacrifice. On the sacred days the people would stream to the temple plaza to behold the ritual that would save them all. At the height of their empire the Aztecs in one day could offer up more than a thousand captured enemies to Huitzilopochtli ["wheat-seal-oh-POACHED-lee"], the god of war who gave them their strength and also represented the warrior sun. To the top of the pyramid the holy victims came.
Thatcher pulls out a dummy and lays it on its back on the stone, its head sprawling back. Thatcher lights a ball of incense in the burner, and picks up the knife.
THATCHER
Incense was offered, and the drums pounded. Before all the people the priest would take up his flint knife, deftly cut into the living chest of the offered one, and draw forth the beating heart, symbol of life and the renewal of all things!
As he speaks Thatcher cuts between the "ribs" of the dummy, reaches inside and brings out what does indeed look like a bloody heart (although it's not beating), and holds it on high. Thatcher then flings the dummy from the stone, and it falls face-down onto the floor. CUT TO Mulder as he recognizes the parallels to Vincent Black, and his own visit with Burroughs in forensics.
THATCHER
The empty body was cast down the steps of the pyramid. The gods were fed for all their labors, the universe was subdued and maintained by the awesome sacrifice. Man had performed his ultimate act, that for which he was made: to give up himself, to take life for life.
Thatcher sets the heart in the back of the stone jaguar, goes to the sink and washes his hands while his audience waits in silence. Then he turns on the lights and addresses the class in a normal voice.
THATCHER
All right. That's enough food for thought for one day. Your sacrifice for next time will be to read Hassig chapter 4 and the Moctezuma article on the syllabus. See you Friday.
The students begin to file out, voices rising in conversation. Mulder goes down to the lecture table to meet Thatcher, who is washing his hands a second time.
MULDER
Dr. Thatcher, I enjoyed your lecture. May I ask where you got the heart?
Thatcher seems almost embarrassed--as if he feels he ought to have done better. He twists the gold ring on his finger as he speaks. Now that he's not lecturing he's lost some of his poise, and seems distracted.
THATCHER
Oh, it's not the real thing. It's cow--I got it from the butcher. Too big, but it gets the idea across. I--I really shouldn't make just that side incision to get the heart out, that's more Maya than Aztec, but it works better in class that way. I have to be able to use the dummy again, so I can't cut the chest completely across like the Aztec priests did.
MULDER
I guess not.
Mulder gets out his badge.
MULDER
I'm FBI Agent Fox Mulder. I spoke to your secretary. I was hoping you might be able to help me with an investigation of some local murders--you may have heard about them. What can you tell me about these symbols?
He shows Thatcher the picture of the dumpster. Thatcher hesitates.
THATCHER
If you've come this far you probably already know that those are rough representations of Tlaloc and Huitzilopochtli: the god of rain for the agricultural cycle, and the god of war for the strength of the state. Are you assuming that this is supposed to be some modern-day Aztec offering? It seems to me more like somebody's idea of a sick joke.
MULDER
Some flesh from the arm and leg of the victim was cut away. Does that connect with Aztec practice at all?
Thatcher is starting to look more uncomfortable; he passes the back of his right hand over his brow, then goes to wash his hands again. Mulder watches him, making a mental note of Thatcher's nervous behavior.
THATCHER
Excuse me. I've been very tired lately. Yes, there were some festivals where parts of the arm and leg would be cooked and eaten, emulating the feeding of the god through the sacrifice.
MULDER
That was quite a presentation you just gave. A little grisly, but effective.
Thatcher perks up, happy to return to lecture mode.
THATCHER
No more grisly than your average Catholic mass, in principle. The covenant of blood really shouldn't be so shocking. Isn't that the basis of both historical Judaism and Christianity? Life is required for life. Jesus was pierced in the side, his feet and hands nailed, a circlet of thorns pressed into his skull. Why should the freed heart be considered any more gruesome?
MULDER
Maybe because Jesus only had to do it once. And he got to get up afterwards and ascend to eternal glory at God's right hand. Your victims aren't that privileged.
Thatcher turns away from Mulder, suddenly upset.
THATCHER
They're not my victims! You don't know anything about it.
He controls himself and faces Mulder again, speaking once more with the strength of passionate belief.
THATCHER
They were part of a powerful religious system--a profoundly meaningful system that was wiped out by the greed and cruelty of the so-called Christians who came from Spain with their bleeding Jesuses fastened on their crucifixes! You tell me who was more barbaric.
MULDER
Professor, I didn't mean my comments as an attack. I was just offering an explanation for why people might be reluctant to accept your devotion to your work.
THATCHER
Most people do tend to find my interests in Aztec religion a little ...unsavory.
MULDER
Believe me, I know how you feel. I deal a lot with dead bodies, too. My line of work doesn't always make me a popular guy at a dinner table, either.
THATCHER
I suppose not. (pause) Our society doesn't have much place for death. We just want it to go away, when we ought to embrace it. It's just as impressive a spiritual moment as birth. We ought to treat the man marked for death like a pregnant woman, not like an embarrassment.
Mulder changes the subject.
MULDER
Are you aware that these murders started here on campus, professor? Three weeks ago the body of a janitor was found in the basement of the administrative building. His heart had been removed.
THATCHER
Yes, I heard about that. We were all in a departmental meeting on campus that night, at the same time it happened. Terrible story.
MULDER
It's not just a story, it's a rather uncosmetic corpse. And it's been acquiring a lot of company lately; the fourth body, with those symbols I showed you, was found two days ago. Does it bother you, the similarity between these deaths and the sacrifices you enact in your classroom?
THATCHER
Of course it does. It makes my work even harder. How are my students going to take Mesoamerican cosmology seriously if they think it's equivalent to the senseless horrors of modern life--another Jeffrey Dahmer, another drive-by shooting? What I teach about has meaning, it's rooted in a sacred view of the universe. Not like the world we live in, where something like this can happen and it's just another puzzle for the FBI.
MULDER
Do you think this could be a case of a student taking you a little too seriously--trying to practice what you preach?
THATCHER
I should certainly hope not. And let me get one thing straight: I do not "preach" Aztec religion. I demonstrate its integrity as a values-system, and its significance in relation to a highly artistic, sophisticated culture in Central America. And I absolutely do not recommend ripping the hearts out of homeless people.
MULDER
No one said you did, professor.
CUT TO:
7. INT: OFFICE OF DR. ROSA MARTINEZ
Martinez is a Latina archaeology professor, one of Thatcher's colleagues. Irritated by the subject at hand, she paces in her office as Mulder questions her.
MARTINEZ
Douglas Thatcher? He's a crackpot, a lunatic. The only reason the university tolerates him is he gets good press and he has a sweet publishing deal for the popular audience. The alumni love him.
MULDER
How would you evaluate his research, Dr. Martinez?
Martinez hesitates, regretting her outburst.
MARTINEZ
His writing was always a little too speculative to be taken completely seriously by other scholars, but when he came back from his last trip to Mexico sounding like somebody who'd had a religious experience--well, it started getting a little creepy. The way he treats it you'd think it was another New Age spiritual option, like crystals or something, but he's talking about human sacrifice. I tell you, it stinks. He reminds me of little boys playing at being Indians. I never like it when some culturally deprived white man decides to play around with the beliefs of a supposedly "exotic" people group--like their culture is just another resource designed to benefit him personally. (pause) No offense.
MULDER
None taken. Have you heard much about these Aztec-style murders?
MARTINEZ
Yes. I've been following it pretty closely--we all have, it hits too close to home. If the person doing this is trying to follow Aztec rites, though, they're doing it very badly. The sacrifices followed a very specific and complex cycle of public festivals. From what we get in the news this is just sloppy, ugly murder, with a few Aztec trappings.
MULDER
Dr. Thatcher has a lot to say about how human sacrifice was sacred in Central America, a holy institution like Christian communion.
MARTINEZ
He's right, so far as he goes. Under the Aztecs, though, it also became a display of political power, even psychological warfare. The number of sacrifices escalated along with the ambitions of the Aztec empire. The victims were usually captives taken in war, or slaves bought for the purpose from subject peoples. Heavy tribute was exacted from the conquered, as well, beyond the human cost. That's partly why it was so easy for the Spanish to topple the Aztec--there were plenty of people willing to help. The massive scale of these sacrifices was a paranoid tool of empire, not just a religious expression. Maybe Thatcher's in love with that part of it, too, I don't know.
She pauses a moment, backtracking in her thoughts.
MARTINEZ
You asked for my opinion of Thatcher's scholarship. I hope this doesn't just sound like academic rivalry, but there it is. His facts are solid enough, but his interpretations are--well, a little out there. The only way he's going to be of use to you in this investigation is if he's doing those murders himself and he decides to tell you about it. Frankly, I wouldn't put it past him. If he really thought he was reviving Aztec sacrificial religion, he'd probably want to share it with somebody.
Mulder files that thought away for safekeeping.
MULDER
You probably know that this series of murders started here on campus.
Martinez nods.
MULDER
Dr. Thatcher told me that your department was having a meeting on the night that janitor was killed.
MARTINEZ
He said that? That's pretty funny. He wasn't there more than five minutes. He threw a fit when the chairman was late, said he had more meaningful things to do and stomped out.
MULDER
What time would that have been?
MARTINEZ
Just after 7:00, I suppose.
MULDER
Do you know any of Thatcher's students? I'd like to know what kind of response he gets from them.
MARTINEZ
Well, a few of the grad students will be getting together tonight. I could take you to meet them if you want. You probably shouldn't wear a suit, though, or they won't talk to you.
CUT TO:
8. INT: BAR
Four graduate students, three men and a woman, are sitting at a table with their beers. Martinez and Mulder enter and approach the table; Mulder has changed into casual clothes as per Martinez' warning.
MARTINEZ
Hey, guys, I hope you don't mind I brought somebody. This is Fox Mulder.
FEMALE GRAD STUDENT (SHARI)
Great name--I like wild, furry animals.
The male student who responds is not pleased with Mulder's presence, and is not about to welcome him.
MALE GRAD STUDENT (CHRIS)
Calm down, Shari, he's FBI. He was at Doug's lecture today and he talked to him afterwards about those Aztec-wanna-be murders. Sorry, Agent Mulder, these things get around.
MULDER
Do you mind if I sit down, now that my cover's blown? I'm harmless, I promise.
SHARI
That's what they all say.
Mulder goes ahead and sits down. Martinez pulls up a chair as well.
MARTINEZ
Mr. Mulder, meet our best and brightest: Chris Balch, Jon Ketchum, Shari Nicholas, and Miguel Dies.
Nobody offers to shake hands, but Chris is the only one who seems confrontational.
MULDER
Believe me, I don't want to have to study any more of these heart-less bodies. Anything you can tell me that might make these killings make sense would be a big help.
JON
What do you want to know?
MULDER
What about Dr. Thatcher's students? What do they think of his lectures?
There is a moment's hesitation.
MIGUEL
No offense to you, Chris, but most of the kids take him as a curiosity. He has a reputation for being a little crazy. He's famous for that bit with the heart.
MULDER
Are there people who take him seriously--who would see him as a role model?
CHRIS
Well, I do. He's my advisor, he's helped my work a lot. It's because of him that I'm getting my first article published, based on our fieldwork in Mexico last year.
SHARI
I don't know if there's any one person who really idolizes him. Whatever else you might say about him, though, he does get through to the kids. They come out of his classes with a pretty healthy respect for Mesoamerican history and culture. And they're not likely to forget about the sacrifice stuff any time soon.
CHRIS (angry)
I really don't think there's much we can do for you, Agent Mulder. The only similarity between Aztec ritual and these murders of yours is that a chest gets cut open. The chest Doug Thatcher uses is on an inanimate dummy.
JON
You don't need to be so hostile, Chris. It's not like he's asking us if we think Doug did it.
Uncomfortable silence.
MULDER
I'll leave you to your beer, then. Thanks for talking to me.
Mulder gets up, and Martinez goes with him to apologize for what she considers the rudeness of the grad students, talking with him a little away from the table. Shari turns to Chris.
SHARI
Don't you think you should tell him, Chris? (pause) People are dying. It might be important.
CHRIS
You weren't with us in Mexico. You don't know what it was like.
Shari sizes Chris up, then calls after Mulder:
SHARI
Hey, Fox!
Mulder turns and comes back to the table, Martinez still with him.
SHARI
There's something you might want to know.
The grad students exchange looks, while Mulder waits.
MIGUEL
Dr. Thatcher brought back several artifacts from Mexico. He's supposed to return them to the National Museum there after a year.
JON
For now they're being stored in the Anthropology conservation facility on campus.
SHARI
Some of the items are missing.
MARTINEZ
What?! What items? Why wasn't I told about this?
CHRIS
The knife, and some of the priest's garments. I thought you knew.
MULDER
Who would have access to that facility?
MARTINEZ
Any number of people, normally--
CHRIS
--but our Mexico things are in a sealed hardbox. Doug and I and the conservator are the only ones with keys. Doug and I spend a lot of time down there, but we never take anything out of the building. We still don't know how it happened.
MULDER
When did you first notice the items were gone?
Chris looks up at him defiantly.
CHRIS
Three weeks ago. The day after they found that janitor.
Reaction.
FADE OUT.
FADE IN:
9. INT: DREAMSCAPE: HALLWAY
Mulder travels through a dark passage, pushing past and through and climbing over and around the obstacles that hang from above and thrust from below. He is looking for Scully. He calls her name repeatedly and with increasing urgency, first her last name and then her first, his voice starting to crack with strain. As he calls "Dana" the second or third time a door opens in front of him and he enters a dark, featureless room. Scully is sitting in profile in a chair within a circle of bright light; behind her and within the circle stands a gray-skinned alien with dark slanted eyes, its long fingers pressed lightly across Scully's forehead. Scully's head is tipped back toward the alien, eyes closed and mouth partly open in a slight smile, almost ecstatic. The alien turns toward Mulder and releases one hand from Scully's head, reaching out towards him. Scully turns her head and smiles at Mulder, says his name happily and extends a hand, echoing the alien's gesture. The alien vanishes. Mulder steps forward, takes Scully's offered hand, and touches her face.
MULDER
You are beautiful.
She smiles at him, takes both of his hands and places them on her very pregnant tummy.
SCULLY
It's yours. Take it.
Then she cries out in pain and appears to go into labor. Mulder thrusts his hands into her belly, in a motion similar to Thatcher's at the lecture with the dummy, bloodying his hands. As Scully continues to scream and struggle, Mulder draws out the slimy, red alien-baby. Sudden soundlessness descends, and the baby transforms into three spotless white doves in Mulder's now-clean hands. The doves burst into flight, and the sound of their wings mingles with Scully's delighted laughter as they pass through a newly-opened window into a night sky. Mulder follows them to the window and watches them fly away. He sees red flashing lights under their wings, and the birds merge into the wedge-shape of the UFO-technology ship from the episode "Deep Throat", hovering silently in the night. Scully (not hurt) comes up behind him and puts her arms around him, looking out the window with him.
SCULLY
Isn't he beautiful?
Mulder turns to look at her and sees the alien standing behind her with a hand on her head, reaching out again towards Mulder. The long fingers cover Mulder's eyes, and we CUT TO BLACK.
CUT TO:
10. INT: DREAMSCAPE: BED ROOM, SUNSET
Mulder and Scully are standing close together, facing a cradle holding a perfectly normal sleeping baby.
SCULLY
He'll learn how to fly, Mulder.
CUT TO:
11. INT: MULDER'S LIVING ROOM: THE COUCH
Mulder wakes out of the dream with an incoherent cry, trying to absorb the impact of its images.
FADE TO:
12. INT: TERPENNING'S OFFICE
Mulder sits opposite Terpenning, who is sitting behind her desk reviewing Mulder's latest report with him.
MULDER
The pattern of this case does not indicate the psychology of your usual serial killer. Sexuality is apparently not a factor here; our perpetrator does not seem to be acting out any kind of fantasy except perhaps a desire to imitate Aztec ritual sacrifice. The evidence points to a certain earnestness of intent: rather than deriving pleasure from killing his victims, the perpetrator seems to feel an ambivalent obligation or even compulsion. He's acting alone and doesn't have the support he needs to do the job right, but he's determined or compelled to make his best effort, and to keep trying.
TERPENNING
Tell me more about your misgivings concerning Douglas Thatcher. What did your university contacts have to say about him?
MULDER
It's what they didn't say that bothers me. One of the students was very protective of him, but the others seemed uncomfortable with his methods--and perhaps with his state of mind. Thatcher became agitated when I interviewed him after his lecture, and was compulsively washing his hands. Apparently something big happened while he was in Mexico recently; his behavior indicated a high stress level, and he mentioned feeling tired. These symptoms could be unrelated to our case, but the coincidence is too great to ignore. I'm trying to find out now whether he's been getting any professional help.
Pause.
TERPENNING
Thank you, Mulder, you've delivered. Good work.
She closes his report and stands up.
TERPENNING
Come on, I'll buy you a hot dog.
CUT TO:
13. EXT: PARK
Mulder and Terpenning are walking, eating their hot dogs. They come to a bench.
TERPENNING
Sit down, Mulder. I have something to show you.
They sit down; she opens her purse, unzips a pocket and gets out an envelope, which she hands to Mulder.
TERPENNING
Take a quick look.
Mulder opens the envelope and brings out a photograph: Deep Throat, asleep and apparently naked in bed (the covers are over most of him). Mulder quickly slides the picture back into the envelope.
TERPENNING
That's the man I told you about in the car the other day. You recognize him, don't you?
MULDER
Not in that position.
Terpenning calmly finishes her hot dog.
TERPENNING
I had to take it while he was sleeping. He never would have let me keep it if he'd known. He was always extremely careful about his unofficial activities. Until you. (bitter) He always did want a son.
She fixes Mulder in her severe gaze.
TERPENNING
He gave himself up to those monsters for you, something he had fought for years to avoid. I hope you appreciate the significance of that.
MULDER
Believe me, I do.
He returns the envelope to her, and she puts it away.
TERPENNING
Well, he knew what he was doing. I think he preferred it like that, a confrontation of his own choosing, for personal reasons, rather than just being out-maneuvered and cut down in the usual way some day. I think he even preferred it to the quiet victory of retirement. I told you, sentimental.
MULDER
Terpenning, you have to tell me. What do you know about Scully?
She looks at him, weighing her response.
TERPENNING
How long has it been, Mulder, since you saw her? Almost a month? You're nearly halfway there, give or take a few weeks. Tell me, does it make you feel like an expecting father?
She gets up and starts walking briskly back toward the street. Mulder jumps up after her and grabs her arm.
MULDER
You can't say that and walk away from me! What do you know?
She glares at him.
TERPENNING
I know that you're a man on awfully thin ice to be pushing me, Mulder. And I know where I'm taking you this afternoon. You damn well better keep your mouth shut. I'm no seeker of bullets for your sake. Not like him.
She shrugs her arm out of his grip and starts walking.
TERPENNING
Are you coming?
Mulder goes after her.
CUT TO:
14. INT: TERPENNING'S CAR, DAY
Terpenning and Mulder are driving on a little-traveled state road. They come up to a large truck facing them in the opposite margin; Terpenning pulls around to park behind it. "Lonely Star Shipping" is emblazoned on its side. Terpenning stares tensely at the truck.
TERPENNING
Get out, Mulder. She's waiting for you.
CUT TO:
15. EXT: ROADSIDE, DAY
Mulder gets out of the car. A guard emerges from the cab of the truck and approaches him.
GUARD
May I see some identification, sir?
Mulder shows him his badge.
GUARD
Your weapon, please.
Mulder reluctantly takes his gun out of its holster and hands it to the guard. The guard draws back the bolt on the door of the truck and motions Mulder in, then shuts and bolts the door behind him.
CUT TO:
16. INT: TRUCK
Scully is lying on a bunk, and struggles to get up and greet Mulder. Mulder helps her stand, and they both laugh a little at the awkwardness. She's getting pretty big by now.
SCULLY
I'm glad you could come, Mulder.
He puts his hands on both sides of her face, studying her for a second.
MULDER
You don't look too fuzzy after your substance exposure.
He moves his hands to her shoulders.
SCULLY
I don't think they're planning on turning me into a junkie.
MULDER
Are you sure you're OK?
SCULLY
I think so. They give me almost everything I need, except my freedom. And then there's the little problem that I'm huge and pregnant without getting the fun part that's supposed to come first.
They sit down together on the bunk.
MULDER
I had quite a dream last night.
SCULLY (hushed)
He told me he might try to contact you.
MULDER
Who?
SCULLY
In your dream, was there a funny-looking guy with big hands?
Mulder nods.
SCULLY
That's the advocate I told you about. It's the real thing, Mulder. Too bad I have to be a prisoner to find out. Ironic that it's me, isn't it?
Mulder doesn't reply, absorbing the information.
SCULLY
Should I ask him to stop?
MULDER
No. It's the closest encounter I'm likely to get for a while. He may have been trying to tell me what all this is for. (pause) Maybe you can ask him about my sister.
SCULLY
I tried. Communication is pretty much one-way so far. He knows a lot about me, but I have a hard time conveying specific ideas. It might help if I had a picture.
Mulder gets out his wallet, pulls out a snapshot and hands it to Scully, who somberly puts it in a pocket.
SCULLY
I don't know why he's working for these people. But he is protecting me, I know that, and making sure I get things to make me more comfortable. I think he's responsible for this little rendezvous today. (pause) Tell me about you. How's work?
MULDER
I'm back on active duty, but no permanent assignment yet. Right now I'm on a team tracking a rather messy serial killer. The team leader is Janet Terpenning, have you heard of her?
SCULLY
Yes, I met her once at an Academy reception. I've heard she's tough. Do you like her?
MULDER
She's effective. The case has been advancing pretty quickly. She's riding me hard, she wants results.
SCULLY
Sounds good: I envy you. How are the other agents treating you?
MULDER
They're polite. I don't pay much attention.
SCULLY
Is it an interesting case?
MULDER
It's more your kind of thing than mine. I've learned more than I ever wanted to know about bilateral transverse thoracotomies. I can't keep my mind on it, though. There's this friend I've been worried about.
He puts a hand to her face.
SCULLY
Don't let this get in the way of your own life, Mulder. I'm not that important.
MULDER
Yes, you are.
He kisses her on the forehead and draws her back against his chest, quietly keeping his arms around her. A knock comes at the door. Scully sits up.
SCULLY
That's our warning call.
She smiles sadly and touches his face.
SCULLY
I'm trying to decide which I'll regret more: kissing you now, or missing my chance.
She lets her fingers trace over his mouth. The bolt starts to scrape at the door. Mulder takes a small, soft kiss; Scully takes a longer one, but still tentative. The door slides open, and the guard comes in. They part, not looking at the guard.
MULDER
I've still got your keys. I checked, and the Bureau is taking care of your rent and things. Is there anything you want me to do for you?
SCULLY
Just keep an eye on the place. It will be nice to have something to come home to. Thanks.
GUARD
I'm sorry, ma'am. He has to go now. He has an escort.
Mulder answers the question on Scully's face.
MULDER
Terpenning. I'll tell you the story another time. I think we can trust her, for now.
GUARD
Excuse me, sir.
Mulder stands up and Scully holds onto his hand, which she releases as he backs away from her toward the door.
SCULLY
You'd better be home next time I call.
MULDER
You'd better be in my dreams. Only next time I don't want to be delivering that baby, OK?
The guard puts a hand on Mulder's arm, and he turns and steps out. Scully bites her lip, blinking back tears over a smile at what Mulder's dream must have been.
FADE TO:
17. INT: TERPENNING'S CAR
They are driving back. Mulder is quiet.
TERPENNING
You called him "Deep Throat", didn't you? His name was Morse. You might as well know that, it doesn't matter any more. (pause) He was the one who got you into all this, you know. His relationship with you attracted the attention of his enemies. Piqued their interest. I would still have Morse and you would still have Scully if the two of you had never spoken. Do you understand now why I didn't want you on my team?
Mulder meets her look but doesn't answer.
TERPENNING
I just want out of all of it. Hitchings had enough leverage to force you on me this time, but this is my last play in the game. After this I'm just FBI. I'm not doing anybody any more favors. (pause) God, I hate that man.
The look on her face as she grips the steering wheel makes you thankful she doesn't hate *you*.
FADE TO:
18. INT: MULDER'S LIVING ROOM: THE SOFA, LATE NIGHT/EARLY MORNING
Mulder is sleeping in front of the TV, as usual. "Another Thin Man" (where Nick and Nora have their son) is the late-night movie playing on the tube. We watch Mulder dream; he moves gently and vocalizes a little. It's a nice dream this time, not disturbing (and we're not going to see it). The phone rings; Mulder wakes up enough to answer it, not quite out of the dream yet.
MULDER
Hello?
WOMAN'S VOICE (V.O.)
Mulder.
MULDER
Dana?
No, it's Terpenning.
TERPENNING
Wake up, Mulder, it's your boss. Our killer has been at it again. There are two of them this time. I want you here five minutes ago.
Reaction.
FADE OUT.
FADE IN:
19. INT: FBI FORENSICS LAB/MORGUE
Burroughs flips a sheet back over a victim. Even Terpenning looks a little disturbed by this one.
BURROUGHS
The man is like the last one, a thoracotomy again. But with the woman---after they got her heart out, they tried to take her skin off, too. They weren't very successful, though, and they gave up about half-way through. Looks like the killer lost his nerve.
TERPENNING
Don't jump to conclusions, Burroughs. It might have been intentional. Mulder, does this tie in with Aztec ritual?
MULDER
I don't know. I'll have to call Dr. Martinez.
TERPENNING
You do that. We're all going to be busy for a while.
Terpenning starts to pull away, on her way out.
BURROUGHS
Don't go away in such a hurry. I saved the best for last.
He opens a small drawer and brings out a plastic evidence bag holding a strange gold ring: the Quetzalcoatl band we saw on Thatcher.
BURROUGHS
We found this in the man's chest cavity. It must have dropped off the killer's hand when he removed the heart.
Mulder looks at Terpenning, impressed with this stroke of luck (it helps to have the writer on your side).
MULDER
Thatcher has a ring just like that.
TERPENNING
Mulder, we may have our man.
FOCUS on the ring.
FADE TO:
20. INT: ANTHROPOLOGY CONSERVATION FACILITY
SCAN through the padded racks of tagged artifacts--primitive tools, bones, and more sophisticated objects like sculptures, musical instruments, weapons. We hear a muttering, whimpering whisper. Turn a corner and PULL UP on the figure of Douglas Thatcher huddled against the wall, wearing an Aztec head-dress and vest, his hands crossed over his chest. In his right hand, now ring-less, he clutches a bloody sacrificial knife. His eyes are large and staring, and he is shaking as he spits out incoherent Nahuatl, Spanish, and English.
THATCHER [ad lib.]
No, no.... Madre de Dios, por favor.... Ipalnemoani Titlacauan.... I can't. No more....
CUT TO:
21. INT: MARTINEZ' OFFICE
Martinez is seated at her desk, going over lecture notes. A knock comes at the door and Chris steps in.
CHRIS
Rosa, have you seen Doug? He didn't show up for lecture this morning, I had to teach for him.
MARTINEZ
Thatcher? No, I haven't seen him.
Her phone rings, and she answers it.
MARTINEZ
Dr. Martinez.
She glances up at Chris.
MARTINEZ
Oh, Mr. Mulder. What can I do for you?
She is silent a moment as she listens, a grim look coming over her face. Chris becomes more anxious.
MARTINEZ
My God, that's horrible. (pause) Yes, flaying of the victim was a feature of some rituals. A woman impersonating the corn goddess would be sacrificed that way.
She looks at Chris again as she listens.
MARTINEZ
No, Dr. Thatcher isn't in today. Actually, we're not sure where he is. He was supposed to teach this morning; Chris had to take over his lecture for him. (pause) All right. Goodbye.
She hangs up the phone.
CHRIS
What was that about?
MARTINEZ
Two more people have died, Chris. A man and a woman. Whoever did it tried to skin the woman.
CHRIS
I've got to find Doug.
Chris dashes out. Martinez puts her head in her hands.
CUT TO:
22. INT: TERPENNING'S TEAM WORKROOM
Robinson works at a desk. Terpenning comes in, carrying some case files.
TERPENNING
Where's Mulder? He was supposed to be here.
ROBINSON
He went off to the university looking for some professor.
TERPENNING
Douglas Thatcher?
ROBINSON
Yeah, I think that was the name.
TERPENNING
Dammit, Robinson, haven't you been paying attention? That was Thatcher's ring in our victim's chest this morning. We were still planning how to bring him in. Who does Mulder think he is, the Lone Ranger?!
She drums her fingers on the files she's holding, her face grim.
TERPENNING
Come on, we'd better go after him. I want the privilege of killing him myself.
CUT TO:
23. INT: ANTHROPOLOGY CONSERVATION FACILITY
Chris moves through the aisles, looking for Thatcher. We no longer hear Thatcher's frenzied whispering.
CHRIS
Doug? Doug, it's me. Are you here?
Something skitters away against a wall; Chris follows the motion and finds Thatcher, who cowers away from him, turning his face to the wall. Chris squats down and places a hand on his mentor's shoulder.
CHRIS
Doug, what happened to you? What have you seen?
Thatcher's head snaps around, turning a wild-eyed face on Chris.
THATCHER
No, get away! They're coming!
CHRIS
Who, Doug? Do you know who's been doing this? You can tell me, it's OK.
Thatcher is suddenly and horribly calm.
THATCHER
You don't know anything about it.
Thatcher's eyes roll back into his head and he collapses against the wall. He still grips the knife against his chest. Chris starts to try to pry it out of his fingers. We can hear the sound of a heavy door opening and footsteps on the stairs--and a voice.
MULDER
Dr. Thatcher?
Thatcher surges violently conscious, slams Chris in the face and runs further into the recesses of the facility with an outraged cry. Chris falls back, unconscious. Now we have a perfect setting for a cliched tense cat-and-mouse maneuver through the aisles of artifacts. Mulder comes warily down one aisle, gun at the ready. We get glimpses of Thatcher, and hear his wild breathing, and snatches of half-whispered muttering.
MULDER
Dr. Thatcher, I'm here to help you. I know you don't want to be doing this.
THATCHER
You can't make me!
We see Chris get up, shaking himself and rubbing blood from his nose or cheek. Mulder moves out into an open space where there are padded tables for examining items; he turns around as he gets to one of the tables, facing the rows of racks. Thatcher barrels out of the mouth of one of the aisles with a shriek, brandishing his knife. Mulder's shot goes wide as Thatcher pushes him back across the table and slashes at his chest, only cutting across the fabric of his clothes and a little into his skin. As the two of them struggle Chris comes up behind Thatcher, holding a carved war club taken from one of the shelves.
CHRIS
Doug!
Thatcher whips around and Mulder grabs at his arms as Chris strikes a glancing blow to the transfigured professor's head, knocking him out. Thatcher collapses against Mulder, and Mulder slides him down onto the floor, breathing hard from the struggle. Chris kneels next to them, almost ready to collapse himself.
CHRIS
Are you OK?
Mulder looks down at the cut on his chest.
MULDER
I think so. Are you?
Chris says nothing, but reaches over and takes the knife out of Thatcher's finally relaxed hand.
FADE TO:
24. INT: TERPENNING'S OFFICE
Terpenning is pacing as she chews Mulder out. Mulder has not yet done anything about his cut.
TERPENNING
Mulder, you are an idiot. What in hell made you go after Thatcher by yourself? There are four of us on this team, for Christ's sake. If you've got a death wish, don't indulge it on my time!
MULDER
I was following a hunch. I told Robinson where I was going. I'm used to not being taken seriously.
TERPENNING
Not good enough, Mulder, and you know it. You're no good to anyone if you take stupid risks like that. (pause) You've got somebody counting on you, you know. Don't do to her what Morse did to me.
Mulder just looks at her.
TERPENNING
Now get out of my office. And have that cut looked at, you don't know what might have been on that knife.
MULDER
Yes, ma'am.
He starts to go out.
TERPENNING
And get some rest, Mulder. I want you sharp for wrap-up tomorrow.
FADE TO:
25. INT: MULDER'S BEDROOM, NIGHT
For once he's actually gone to bed. He is asleep, tossing a little as he dreams.
DISSOLVE TO:
26. INT: DREAMSCAPE: DARK, FEATURELESS ROOM
Mulder stands, his back to the camera. A little girl with dark hair, about eight years old, is lying on a cushioned bench about fifteen feet in front of him. A bundle wrapped in white cloth lies at her feet. It is his sister, Samantha, recognizable from the picture he gave Scully in scene 16.
MULDER
Samantha?
The girl sits up, takes the bundle carefully in both arms and starts walking toward him. A sudden SPOTLIGHT appears between them, illuminating the alien advocate, who places a hand on Samantha's head and takes the bundle from her. She stops where she is, facing Mulder, smiles at him and waves. Another SPOTLIGHT, just in front of Mulder and a little to his right, shows Scully seated in profile, as in the first dream. The alien goes to Scully and gives her the bundle (his SPOT following him), then returns to Samantha. He takes the girl's hand and they walk together back to the bench. She lies down on it again, and the alien stands at her head. The bundle stirs in Scully's arms and we hear a baby's cry. Mulder goes to Scully to look at the baby. Its closed eyes are large and slanted, and it has a fringe of dark human hair on its elongated head; its skin is more pink than gray. Scully looks up at him.
SCULLY
Whose DNA is it, Mulder?
The words ECHO. Scully stands up, gently lays the baby on the chair, takes Mulder's hand and leads him to the bench where his sister lies, apparently asleep. He reaches down to touch Samantha's cheek.
MULDER
Samantha.
She opens her eyes, smiles at him, and slips her hand into his.
SAMANTHA
It's OK, big brother. Don't be afraid. I have very nice dreams.
She closes her eyes again, and her hand drops back. The alien lays a hand across her forehead, then turns its expressionless face to look at Mulder. It speaks with Scully's voice.
ALIEN
Is this what you wanted to know?
CUT TO:
27. INT: MULDER'S BEDROOM, NIGHT
Mulder wakes up in shock, calling Samantha's name. He lays his head in his hands, his shoulders shaking. A phone next to the bed rings, and he answers it almost shouting.
MULDER
What?!
SCULLY (V.O.)
Mulder, it's me. Are you OK?
MULDER
I don't know. Dammit! Your friend just showed me my sister. That baby is hers!
Stunned pause.
SCULLY (V.O.)
My God. I suppose it's possible.... Are you sure?
MULDER
I'm not sure of anything any more.
FADE OUT.
I had a great deal of fun researching the Aztec cultural details for this one. It is probably sick and twisted of me, especially considering that normally I find violence highly unsettling, but there you are. I also enjoyed writing for Terpenning. She sounds strangely like Mr. X in some ways--which is particularly interesting given that Mr. X had not appeared on the show yet when I wrote this. Because of her, and the Aztec research, I'll always have something of a soft spot for "Communions".
In true X-Files fashion, I deliberately kept what was happening with Thatcher ambiguous. Has he just gone nuts, taken in by his own dramatic lectures? Or was he possessed by something in Mexico, something that demanded human hearts then and desires them still? Since it's an X-File we probably assume the latter, but since it's an X-File you can't prove anything. The series has inevitably lost some of that ambiguity over time, since it's had to take a stand on some things due to the restraints of (inconsistent) choices made in the Mythology (spit); but again, remember that I wrote this in 1994, with only the first season to go on.
Here is a brief reading list distilled from the research I did into Aztec culture and history (and heart-removal techniques):
Townsend, Richard F. 1992. The Aztecs. London: Thames and Hudson. Solid general introduction. Excellent photographs.
Brundage, Burr Cartwright. 1979. The Fifth Sun: Aztec Gods, Aztec World. Austin: University of Texas Press. Literary/aesthetic interpretation; similar to what Thatcher would have published.
Boone, Elizabeth H., Ed. 1984. Ritual Human Sacrifice in Mesoamerica. Washington, D.C.: Dumbarton Oaks. See especially articles by Robicsek and Hales ("Maya Heart Sacrifice: Cultural Perspective and Surgical Technique"), Moctezuma ("The Templo Mayor of Tenochtitlan: Economics and Ideology"), and Anawalt ("Memory Clothing: Costumes Associated with Aztec Human Sacrifice"). The real thing, scholarship-wise.
See also Carrasco and Hassig for two leading Aztec scholars.
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