Fire Demons

MULDER : 

You know, when I, uh... 

I first came to work at the FBI, 

I worked at Violent Crimes, 

and I saw, I saw 

The Worst of Humanity. 

I saw monsters and I wondered 

how they became that way, 

how these men became so evil. 

I know there were psychological explanations-- 

Victims of their environment, 

Victims of their parents-- 

But the scientific explanations 

were never truly satisfying. 

And I began to think about Evil like, like a disease. 

You know, that it goes from 

man to man or age to age. 

Most of us walk around thinking 

we're incapable of any 

Acts of Evil and we are. 

You know, we can stifle 

that momentary urge 

to kill or to hurt. 

We have some kind of 

immunity to it. 

But I think it's possible 

that there's... 

An occurrence 

in somebody's life, 

a Tragedy or a Loss 

that leaves them vulnerable, 

hurts their Immunity to Evil, 

and all of a sudden at that point 

in their lives when 

they're weakened —

They're open to Evil 

and they can become Evil.

DOGGETT: 

If that were True, 

then what you're saying is... 

Is that this man 

we wheeled in here tonight 

is Infected with Evil, 

The Same Evil 

that killed My Son. 

You really believe that, Agent Mulder?

MULDER: 

Uh, I'm not really a good test 

for questions like that. 

I'll believe almost anything, 

you know, but the, uh... 

The pisser is,

You may never know. 

It may be like Agent Reyes says. 

It could be random and meaningless-- 

Who it Affects, Who it Goes to.

DOGGETT: 

What if it isn't?

MULDER: 

Well, then you'd be 

Seeing Something 

that I don't, 

Agent Doggett.

SCENE 13

SPARTANBURG, SOUTH CAROLINA

11:02 AM

(Payphone area we saw the night before. Sheriff's Deputies are walking around. DOGGETT pulls up in a rental car. He sees MULDER, in rolled-up shirt sleeves, casually leaning against a Sheriff's car.)

DOGGETT: 

What am I doing here?

MULDER: 

Been asking myself that same question, Agent Doggett. 

But it seems the tenacious Agent Reyes does not want to let go of this one.

DOGGETT: 

Of what?

(MULDER leads DOGGETT toward the crime scene.)

MULDER: 

She's got a murder victim out here, a woman found shot. 

She thinks it's probably the same man who killed those two people down in New Orleans-- this Jeb Dukes.

DOGGETT: 

What does she want from me?

MULDER: 

She wants to know if you See it, Too. 

What She's Been Seeing.

DOGGETT: 

I told you, there's no connection.

(DOGGETT looks over and sees REYES standing with the Deputies in a loose circle around something on the ground. The clothing is different, but the arrangement of people is identical to that of his flashback/vision in the hospital. As she did in the vision, REYES looks back at him.)

REYES: 

Agent Doggett.

(The circle of men breaks apart. DOGGETT comes to stand next to REYES. He looks at the body of the PAYPHONE WOMAN lying face down on the ground. Same position and angle of the body as that of his son in the file photo we saw earlier and the woman in New Orleans. DOGGETT takes a breath and speaks calmly. MULDER is a few feet away, watching them.)

DOGGETT: 

I'm sorry, Agent Reyes. 

I don't see it.

REYES: 

I Think You Do.

(DOGGETT starts to leave. He pauses.)

REYES:
You're just afraid to go there.

MULDER: 

Whoo. You just keep shooting till you hit something, don't you?

(REYES stays focused on DOGGETT.)

REYES: 

You'd rather blind yourself to the connections, but I can't.

DOGGETT: 

You keep talking about these connections.

 Connections to what? 

To who?

REYES: 

What if this is a Thread of Evil … 

Connecting through Time, 

through Men, 

through Opportunity, 

connecting back to you. 

In India, in Africa, in Iran, 

in the Middle East, in the Far East. 

Most of The World, 

they take it as a given. 

They see Evil in Death 

the way other people see God in a Rose.

MULDER: 

(dryly) 

I saw Elvis in a potato chip once.

(REYES glances to MULDER.)

REYES:
You know what I'm talking about.

MULDER: 

Yes, I do. I DO. 

But if this man doesn't see it, 

he doesn't see it, right?

(DOGGETT stares at REYES. MULDER leaves. REYES and DOGGETT continue looking at each other.)

SCENE 13

OUTSIDE THE MOTEL WINDOW

MULDER: 

They put up a cordon in a ten-mile radius. 

No sign of them. 

Best I can figure is they must have had an acetylene torch in the back of the truck. 

I don't know how else they could have done it.

SCULLY: 

I wasn't out of that room for more than two minutes, Mulder. 

Come on, there's someone I want to talk to again.

MULDER: 

Who?

SCULLY: 

Kevin's Father.

MULDER: 

Why?

SCULLY: 

He knew that Kevin was in danger. 

He warned us about a 

Powerful and Respected Man.

MULDER: 

The man's a nut case, Scully.

SCULLY: 

Maybe he is.

MULDER: 

But if Kevin is in immediate danger, even if his father has anything to say about Gates, it doesn't help us right now.

SCULLY: 

Well, it's not doing us a lot of good standing around here.

SCENE 14

THE INSTITUTION

(Mr. Kryder is looking at a portrait of Gates.)

MR. KRYDER: 

So this is the man who took my son.

SCULLY: 

You've never seen him before?

MR. KRYDER: 

No. Why would anyone want to hurt Kevin? What does he want?

SCULLY: 

You really don't know?

MR. KRYDER: 

I ... I'm ... I'm sorry. 

I'm just a little foggy right now.

MULDER: 

Scully?

(Mulder shows Scully the log of medications that Mr. Kryder has been receiving.)

SCULLY: 

Haloperidol. It's a powerful anti-psychotic. 

They've increased his dosage. 

Mr. Kryder? 

You said something before about coming full circle to find The Truth. 

What does it mean? 

Full circle to find The Truth?

MR. KRYDER: 

I don't know. I just can't remember.

(Mulder's cel phone rings. Scully walks out into the hallway while Mulder lags behind to take the call. He hangs up and runs to catch up with her.)

MULDER: 

Scully. They had a sighting of Gates. 

He tried to rent another car at the airport, under the name Forau again. 

Did you hear what I said?

(Scully is looking past him at a waste container against the wall. The container has a recycling symbol on it.)

SCULLY: 

Mulder, look. Arrows that form a circle. 

Full circle to find The Truth. 

Gates' Company owns a recycling plant near here. 

That's where he's taken Kevin.

MULDER: 

Scully, the man is at the airport. 

If he hasn't already killed Kevin, he's trying to get as far away as he can.

SCULLY: 

I don't think so, Mulder.

MULDER: 

You think it's you, don't you? 

You think you're the one who's been chosen to protect Kevin.

SCULLY: 

I Don't Know. 

Look, if I'm wrong, I'll meet you out at the airport. OK?

SCENE 15

21ST CENTURY RECYCLING PLANT

JERUSALEM, OHIO

(Inside the plant are Gates and Kevin.)

GATES: 

The sun will be turned into darkness, and the moon will turn to blood, because of you, son.

KEVIN: 

Is that why you want to hurt me?

GATES: 

It's not a question of wanting. 

You have to die, Kevin. 

For everyone. For the New Age to come. 

You understand that, don't you?

(Gates sees drops of blood on the floor and checks Kevin's hands. They are bleeding through the bandages.)

GATES: 

The others were all false prophets. 

You are the only true one among the twelve.

(As Gates reaches for Kevin's throat, Scully appears, aiming her weapon at Gates.)

SCULLY: 

Stop! Federal agent, I'm armed! Let him go! 

Let him go and we'll talk about it!

(Gates pulls Kevin in front of him and they back away.)

GATES: 

There's nothing to talk about. 

I was called upon.

(He and Kevin slip behind some stacks of recycled trash. Scully pursues, but Gates pushes a stack over, blocking her way. He then carries Kevin up the stairs to the top of a shredding machine, while Scully struggles to get around the obstacles.)

KEVIN: 

No! Let me go! Let me go! Let me go!

(Gates starts the shredding machine. He lifts Kevin up as if to throw him into the machine just as Scully reaches the bottom of the stairs. Both Gates and Kevin disappear over the edge.)

SCULLY: 

No!

(Scully rushes up the stairs and sees blood in the blades of the shredder. Leaning forward, she sees Kevin hanging to a ledge.)

SCULLY: 

Kevin! Hold on! Hold on!

(She reaches down and grabs Kevin's hand and pulls him up onto the platform grating. They embrace.)

KEVIN: 

I knew you'd come.

SCENE 16

THE SHELTER, TWO DAYS LATER

(Kevin and Scully are in one of the shelter bedrooms. Kevin has just finished packing his belongings.)

SCULLY: 

You all set?

KEVIN: 

(smiling) 

Thanks.

(He reaches out to shake hands with Scully. She turns his hand over and sees no sign of a wound on his palm, then shakes it. Kevin starts to leave.)

SCULLY: 

Maybe I'll see you again sometime.

KEVIN: 

(looking back) 

You will.

CARINA MAYWALD: 

(unseen, from the hall) 

You all ready, Kevin?

KEVIN: 

Yeah.

(Kevin leaves. Scully turns away from the door and looks down as Mulder enters. She brings a hand to her eyes to wipe away a tear, as Mulder picks up her coat and helps her into it.)

MULDER: 

You OK?

SCULLY: 

Yeah, I think so.

MULDER: 

We have a couple of hours before our flight. 

I told the sheriff we'd go down and make a formal statement about Gates' death.

SCULLY: 

I'd appreciate it if you'd handle that alone, Mulder. 

I have an errand I need to run.

MULDER: 

OK.

SCULLY: 

I'll see you at the airport.

SCENE 17

A CONFESSION BOOTH

SCULLY: 

Bless me, Father, for I have sinned. 

It has been..... six years since my last confession, 

and since then I've drifted away from The Church. 

I'm not sure why exactly.

PRIEST: 

Have you come to confess?

SCULLY: 

No, um, there's a man that I work with - a friend - and usually I'm able to discuss these things with him... 

but not this. 

Father, do you believe in Miracles?

PRIEST: 

Of course, I see them every day ... 

The rising sun, the birth of a child ...

SCULLY: 

No, I'm talking about events that defy explanation. 

Things that ... I believe helped me to save a young boy's life. 

But now I wonder if I saw them at all. 

If I didn't just imagine them.

PRIEST: 

Why do you doubt yourself?

SCULLY: 

Because My Partner didn't see them. 

He didn't ... he didn't believe them. 

And usually he ... he believes without question.

PRIEST: 

Maybe they weren't meant for him to see. 

Maybe they were only meant for you.

SCULLY: 

Is that possible?

PRIEST: 

With the Lord, anything is possible. 

Perhaps you saw these things because you needed to.

SCULLY: 

To find my way back?

PRIEST: 

Sometimes We Must Come Full Circle to Find The Truth. 

(Scully looks up at the priest) 

Why does that surprise you?

SCULLY: 

Mostly, it just makes me afraid.

PRIEST: 

Afraid?

SCULLY: 

Afraid that God is Speaking ... 

But that no one's Listening.

[THE END]

CANCER MAN

 

SCENE 23
TEXAS-NEW MEXICO BORDER
5:07 AM

The SUV driven by MULDER makes it was down the road. 

It pulls off to the side.

MULDER cuts the engine, leans toward SCULLY who is sleeping and gently kisses her cheek. He gets out of the car.)

MULDER unzips his pants and relieves himself, when ...

FROHIKE'S GHOST : 

Hey, hot shot! You might have the common courtesy 

of doing Your Business there downwind.

MULDER: 

Oh, boy.

LANGLY'S GHOST: 

Why don't you just finish draining the little lizard 

and then we'll talk?

BYER'S GHOST: 

We're very worried about you.

FROHIKE'S GHOST: 

It's craziness, man. Turn around.

LANGLEY'S GHOST:

Just hang a big U-ie and never look back.

MULDER: 

I can't.

BYER'S GHOST: 

Why risk Perfect Happiness, Mulder? 

Why risk your lives?

MULDER: 

Because I need to 

Know The Truth.

BYER'S GHOST: 

You already know The Truth.

MULDER thinks about that one for a moment. 

When he responds, its with complete honesty 

at what he's really doing there.

MULDER: 

I need to know if I can change it.

LANGLY'S GHOST: 

Change it?

FROHIKE'S GHOST: 

For crying out loud --

All you're going to do is get yourself killed.

From behind him, SCULLY got out of the car to look for MULDER.

SCULLY: 

Mulder! What are you doing?

MULDER: 

I'll be right with you, Scully.

They both get back into the car.

CUT TO:

Day. The road they're driving on will soon end at a hidden pueblo carved into the side of a mountain.

MULDER stops the car. 

They both get out. 

SCULLY looks around.

SCULLY: 

What are they?

MULDER: 

Pueblos. Anasazi Indian. 

Abandoned 2,000 years ago. 

Nobody knows why.

SCULLY: 

Yeah, Mulder, but what are we doing here?

MULDER points high to the window of a ruin along the way. There's smoking coming out from the window. Someone is there.

MULDER heads off in that direction. SCULLY follows. 

They both begin to climb up to meet the Keeper of the Truth.

CUT TO:

Inside on of the pueblos. An old Indian woman tends to the fire. MULDER and SCULLY enter the area where she lives.

MULDER: 

Hello. My name is Fox Mulder. 

Do you understand me?

The old woman looks at MULDER. Without a word, she rises from her chair and pushes the cloth curtain back and disappears behind it.

SCULLY moves up from behind MULDER and passes him bringing her closer to the curtain. 

She turns around to look at MULDER.

SCULLY: 

Mulder, what is it?

MULDER: 

I was sent A Message 

and 

A Key to The Government Facility at Mount Weather.

 

The Indians said it was from 

A Wise Man Who Lived in The Ruins: 

A Keeper of the Truth.

CUT TO:

(REYES and DOGGETT are traveling by helicopter above, doing a visual search for MULDER and SCULLY based upon the information given to them by GIBSON PRAISE.)

REYES: 

Do you see anything at all?

(DOGGETT shakes his head and continues to scan the grounds below.)

CUT TO:
SCENE 24

Cave entrance. MULDER and SCULLY make their way through the narrow passageway at the mouth of the cave. 

They're led there by the old Indian Woman. 

At the end where it opens up into a living space, a

n old white-haired man sits there waiting for them.

MULDER enters first followed by SCULLY.

CSM: 

What's the matter, Agent Mulder?

CSM / C.G.B. SPENDER takes a drag of the cigarette through the hole in his trachea.

CSM: 

You come to see The Wise Man 

but you look as if you've seen A Ghost.

MULDER: 

You're no Wise Man. 

You're a Dead Man. 

Just like Krycek and X.

CSM: 

You see A Dead Man, Agent Scully?

SCULLY: 

I hoped and prayed you were dead 

you chain-smoking, son of a bitch.

MULDER looks more than a little shocked to see CSM still alive.

CSM: 

You waste your time. Ask Mulder. 

He knows the futility of Hopes and Prayers. 

He knows The Truth now.

SCULLY looks confused at what CSM'S saying. 

CSM zeroes in on this immediately and begins to exploit it as he's done so many times before.

CSM: 

You have told her The Truth haven't you, Fox? 

I helped you find it.

MULDER: 

You didn't help me. 

You sent me to that Government Facility 

knowing exactly What I'd Find.

CSM: 

And now you refuse to Speak It. 

Not to Scully, not to anyone. 

 

You've even refused to testify 

What You Learned ... 

Even though it would have 

Saved Your Life. 

 

You damned me for My Secrets ... 

But you're afraid to Speak The Truth.

CSM takes another drag from his cigarette.

MULDER: 

You call me afraid? 

Look at you sitting here Alone in The Dark like a fossil.

CSM exhales a puff of smoke around him.

CSM:

It's The Final Refuge. 

The last place to hide from 

Those Who are Insidiously Taking Power Now.

SCULLY: 

Who?

CSM: 

The Aliens....!

 

 They fear This Place ... its Geology. Magnetite. 

Like that which brought down 

The Original UFO in Roswell.

 

Indian wise men realised this 

over 2,000 years ago.

They hid here and 

watched Their Own Culture die.

The Original Shadow Government.

CUT TO:
SCENE 26

Back inside the pueblo, CSM takes a drag from his cigarette.

CSM: 

It leaves me to tell you 

What Mulder's Afraid to, Agent Scully.

MULDER: 

Come on, let's go.

SCULLY doesn't budge

CSM: 

It's a Scary Story. 

You want to come sit on my lap?

SCULLY: 

You don't scare me.

CSM: 

My Story's scared every President 

since Truman in '47.

( Old Smokey fans The Flames of Conflict )

MULDER: 

(Trying, with one hand to usher her out)

You don't have to hear this.

SCULLY: 

(resolute)

No, I want to hear it, Mulder.

CSM: 

Ten centuries ago The Mayans 

were so afraid that their calendar stopped 

on the exact date that My Story begins. 

 

December 22, 

The Year 2012. 

 

The Date of 

The Final Alien Invasion. 

 

Mulder can confirm the date. 

He saw it at Mount Weather ... 

...where our own "Secret Government" will be, 

hiding when it all comes down.

SCULLY looks at MULDER. 

He doesn't take his eyes off of CSM. 

CSM has a wild glint in his eye - almost a crazed look.

MULDER: 

Yeah, you smile ... feeling Drunk with Power. 

The Power to Do Nothing.

CSM:

My Power comes from Telling You. 

Seeing Your Powerlessness, Hearing it. 

 

They wanted to kill you, Fox. 

I protected you all these years ... 

Waiting for This Moment ... 

To see you broken. Afraid.

(MULDER lifts his head and schools his features to reveal nothing.)

CSM:
Now you can Die.

CUT TO:



SCENE 27

Two heavily armed black ops helicopters are flying low along the roadway head to the Anasazi Pueblos.


MULDER: 

Agent Doggett!

Both MULDER and SCULLY appear outside the second level doorway.

DOGGETT: 

Mulder, get out of there!

REYES: 

They know where you are!

CUT TO:

The two black helicopters continue their path to the ruins. 

We see they are both very heavily armed.

CUT BACK TO:

DOGGETT and REYES climb into MULDER and SCULLY'S vehicle and drive it closer to MULDER and SCULLY as they make their way down the ruins.

MULDER runs alongside their vehicle as they approach. DOGGETT stops the car.

MULDER: 

Get out of here!

DOGGETT: 

Get in the car.

MULDER: 

No!

DOGGETT looks a little confused. They don't have much time. MULDER tells them again to leave.

MULDER: (insistent) 

Go! Go!

MULDER and SCULLY both run to the other vehicle at the site. 

The vehicle left behind by KNOWLE ROHRER. 

DOGGETT takes off.

CUT TO:

The Helicopters are rapidly approaching the site. They're still not in view of the ruins.

CUT BACK TO:

MULDER and SCULLY get in the abandoned vehicle and take off in a different direction from DOGGETT and REYES. 

They disappear from their view around the hill.

CUT TO:

The Helicopters round the mountain side. MULDER and SCULLY barely escape detection. The helicopters position themselves across the ruins.

CUT TO:

The old Indian Woman inside the pueblo panics as her pots and pans rattle at the disturbance. The helicopters hover just outside her window.

They fire missile after missile aimed at the ruins, destroying them whole sections at a time in fiery explosions.

The Old Indian Woman screams.

CUT TO:

CSM sits inside his final "refuge", a cigarette in his hand.

The pueblos explode with each missile fired. 

The ancient stones crumble to the ground. 

Fire burns what little there is to burn.

The black helicopters swing around and hover just outside the old Indian Woman's windows. 

A dreamcatcher hangs from the window with the black helicopter in its sites.

Another missile is fired and another portion of the ruins destroyed.

Inside, CSM takes a last drag from his cigarette. 

He throws the remainder on the ground.

Outside, in perfect positions, the black helicopter hovers. A final missile is fired finding its intended target. The corridor and the cave fill with fire consuming the once-powerful man within.

The pueblos explode. Missiles upon missiles are fired until the entire mountainside is decimated. Their mission complete, the helicopters turn around and fly off into the horizon.

World X-Files Day

SKINNER: 

I can't represent you.

MULDER: 

You know all the facts, the details the whole government conspiracy. 

(MULDER looks at SKINNER.) 

More than that, 

I TRUST YOU.

(SKINNER is stunned silent by the weight of MULDER'S complete faith in him ... of MULDER'S willingness to put his life in SKINNER'S hands.)

SCULLY: 

Mulder ...

MULDER: 

They can't try me without exposing themselves. I know what I'm doing.

SCENE 23 

TEXAS-NEW MEXICO BORDER 

5:07 AM

(The SUV driven by MULDER makes it was down the road. It pulls off to the side.)

(MULDER cuts the engine, leans toward SCULLY who is sleeping and gently kisses her cheek. He gets out of the car.)

(MULDER unzips his pants and relieves himself, when ...)

FROHIKE: Hey, hot shot! You might have the common courtesy of doing your business there downwind.

MULDER: Oh, boy.

LANGLY: Why don't you just finish draining the little lizard and then we'll talk?

BYERS: We're very worried about you.

FROHIKE: It's craziness, man. Turn around.

LANGLEY: Just hang a big U-ie and never look back.

MULDER: I can't.

BYERS: Why risk perfect happiness, Mulder? Why risk your lives?

MULDER: Because I need to know the truth.

BYERS: You already know the truth.

(MULDER thinks about that one for a moment. When he responds, its with complete honesty at what he's really doing there.)

MULDER: I need to know if I can change it.

LANGLY: Change it?

FROHIKE: For crying out loud. All you're going to do is get yourself killed.

(From behind him, SCULLY got out of the car to look for MULDER.)

SCULLY: Mulder! What are you doing?

MULDER: I'll be right with you, Scully.

(They both get back into the car.)

CUT TO:

(Day. The road they're driving on will soon end at a hidden pueblo carved into the side of a mountain.)

(MULDER stops the car. They both get out. SCULLY looks around.)

SCULLY: What are they?

MULDER: Pueblos. Anasazi Indian. Abandoned 2,000 years ago. Nobody knows why.

SCULLY: Yeah, Mulder, but what are we doing here?

(MULDER points high to the window of a ruin along the way. There's smoking coming out from the window. Someone is there.)

(MULDER heads off in that direction. SCULLY follows. They both begin to climb up to meet the Keeper of the Truth.)

CUT TO:

(Inside on of the pueblos. An old Indian woman tends to the fire. MULDER and SCULLY enter the area where she lives.)

MULDER: Hello. My name is Fox Mulder. Do you understand me?

(The old woman looks at MULDER. Without a word, she rises from her chair and pushes the cloth curtain back and disappears behind it.

(SCULLY moves up from behind MULDER and passes him bringing her closer to the curtain. She turns around to look at MULDER.)

SCULLY: Mulder, what is it?

MULDER: I was sent a message and a key to the government facility at Mount Weather. The Indians said it was from a wise man who lived in the ruins: A Keeper of the Truth.

CUT TO:

(REYES and DOGGETT are traveling by helicopter above, doing a visual search for MULDER and SCULLY based upon the information given to them by GIBSON PRAISE.)

REYES: Do you see anything at all?

(DOGGETT shakes his head and continues to scan the grounds below.)

CUT TO:

SCENE 24

(Cave entrance. MULDER and SCULLY make their way through the narrow passageway at the mouth of the cave. They're led there by the old Indian Woman. At the end where it opens up into a living space, an old white-haired man sits there waiting for them.)

(MULDER enters first followed by SCULLY.)

CSM: What's the matter, Agent Mulder?

(CSM / C.G.B. SPENDER takes a drag of the cigarette through the hole in his trachea.)

CSM: You come to see the wise man but you look as if you've seen a ghost.

MULDER: You're no wise man. You're a dead man. Just like Krycek and X.

CSM: You see a dead man, Agent Scully?

SCULLY: I hoped and prayed you were dead you chain-smoking, son of a bitch.

(MULDER looks more than a little shocked to see CSM still alive.)

CSM: You waste your time. Ask Mulder. He knows the futility of hopes and prayers. He knows the truth now.

(SCULLY looks confused at what CSM'S saying. CSM zeroes in on this immediately and begins to exploit it as he's done so many times before.)

CSM: You have told her the truth haven't you, Fox? I helped you find it.

MULDER: You didn't help me. You sent me to that government facility knowing exactly what I'd find.

CSM: And now you refuse to speak it. Not to Scully, not to anyone. You've even refused to testify what you learned ... even though it would have saved your life. You damned me for my secrets ... but you're afraid to speak the truth.

(CSM takes another drag from his cigarette.)

MULDER: You call me afraid? Look at you sitting here alone in the dark like a fossil.

(CSM exhales a puff of smoke around him.)

CSM: It's the final refuge. The last place to hide from those who are insidiously taking power now.

SCULLY: Who?

CSM: The aliens. They fear this place ... its geology. Magnetite. Like that which brought down the original UFO in Roswell. Indian wise men realized this over 2,000 years ago. They hid here and watched their own culture die. The Original Shadow Government.

CUT TO:

SCENE 25

(Outside the pueblos. The helicopter (#N218SS) carrying DOGGETT and REYES land outside the Anasazi Pueblos. They've found MULDER and SCULLY'S SUV. They both get out of the helicopter and it takes off leaving them there.)

(REYES sees an ominous-looking black SUV make its way toward them. There's a lone driver in it.)

REYES: Agent Doggett!

DOGGETT: Who the hell's that?

(It's KNOWLE ROHRER. DOGGETT and REYES both look worried as the dead man lives once again.)

CUT TO:

SCENE 26

(Back inside the pueblo, CSM takes a drag from his cigarette.)

CSM: It leaves me to tell you what Mulder's afraid to, Agent Scully.

MULDER: Come on, let's go.

(SCULLY doesn't budge,)

CSM: It's a scary story. You want to come sit on my lap?

SCULLY: You don't scare me.

CSM: My story's scared every president since Truman in '47.

MULDER: You don't have to hear this.

SCULLY: No, I want to hear it, Mulder.

CSM: Ten centuries ago the Mayans were so afraid that their calendar stopped on the exact date that my story begins. December 22, the year 2012. The date of the final alien invasion. Mulder can confirm the date. He saw it at Mount Weather ... ...where our own "Secret Government" will be hiding when it all comes down.

(SCULLY looks at MULDER. He doesn't take his eyes off of CSM. CSM has a wild glint in his eye - almost a crazed look.)

MULDER: Yeah, you smile ... feeling drunk with power. The power to do nothing.

CSM: My power comes from telling you. Seeing your powerlessness hearing it. They wanted to kill you, Fox. I protected you all these years ... waiting for this moment ... to see you broken. Afraid.

(MULDER lifts his head and schools his features to reveal nothing.)

CSM: Now you can die.

CUT TO:

SCENE 27

(Two heavily armed black ops helicopters are flying low along the roadway head to the Anasazi Pueblos.)

CUT BACK TO:

SCENE 28

(Outside the pueblos, KNOWLE ROHRER advances on DOGGETT and REYES who continue to back up slowly. Soon they won't have any room to back up anymore. DOGGETT reaches for his gun. REYES reaches for hers. They both hold it on ROHRER knowing full well that it'll be useless.)

DOGGETT: Run, Monica. Get out of here.

REYES : No.

(DOGGETT glances at REYES, accepting her decision to stand next to him.)

DOGGETT (to ROHRER): Knowle Rohrer. That's far enough.

(ROHRER continues to advance. An arrogant smugness about him.)

ROHRER: Shoot me, Agent Doggett, if you think it'll make a difference this time.

(DOGGETT fires. The bullet harmlessly hits ROHRER in the chest. He continues to stand there with the smugness about him.)

(DOGGETT and REYES both continue to back up as KNOWLE ROHRER continues to advance toward them.)

(They've run out of room behind them. ROHRER, on the other hand, has also stopped advancing. In fact, he seems to be struggling to move forward. A confused look on his face.)

(DOGGETT lowers his weapon. Something is happening to ROHRER. He's starting to spasm, He lifts his arms, unable to control their shaking. Black metallic oxidation appears on the skin under his arms and rapidly spreads.)

(DOGGETT and REYES watch as the metal within ROHRER becomes the metal without. ROHRER looks afraid. When the metal completely covers his exterior, ROHRER is sucked into the rocks. DOGGETT pushes REYES out of ROHRER'S path.)

(ROHRER smashes into the rock. REYES looks completely shocked at what she just witnessed.)

MULDER: Agent Doggett!

(Both MULDER and SCULLY appear outside the second level doorway.)

DOGGETT: Mulder, get out of there!

REYES: They know where you are!

CUT TO:

(The two black helicopters continue their path to the ruins. We see they are both very heavily armed.)

CUT BACK TO:

(DOGGETT and REYES climb into MULDER and SCULLY'S vehicle and drive it closer to MULDER and SCULLY as they make their way down the ruins.)

(MULDER runs alongside their vehicle as they approach. DOGGETT stops the car.)

MULDER: Get out of here!

DOGGETT: Get in the car.

MULDER: No!

(DOGGETT looks a little confused. They don't have much time. MULDER tells them again to leave.)

MULDER: (insistent) Go! Go!

(MULDER and SCULLY both run to the other vehicle at the site. The vehicle left behind by KNOWLE ROHRER. DOGGETT takes off.)

CUT TO:

(The helicopters are rapidly approaching the site. They're still not in view of the ruins.)

CUT BACK TO:

(MULDER and SCULLY get in the abandoned vehicle and take off in a different direction from DOGGETT and REYES. They disappear from their view around the hill.)

CUT TO:

(The helicopters round the mountain side. MULDER and SCULLY barely escape detection. The helicopters position themselves across the ruins.)

CUT TO:

(The old Indian Woman inside the pueblo panics as her pots and pans rattle at the disturbance. The helicopters hover just outside her window.)

(They fire missile after missile aimed at the ruins, destroying them whole sections at a time in fiery explosions.)

(The old Indian Woman screams.)

CUT TO:

(CSM sits inside his final "refuge", a cigarette in his hand.)

(The pueblos explode with each missile fired. The ancient stones crumble to the ground. Fire burns what little there is to burn.)

(The black helicopters swing around and hover just outside the old Indian Woman's windows. A dreamcatcher hangs from the window with the black helicopter in its sites.)

(Another missile is fired and another portion of the ruins destroyed.)

(Inside, CSM takes a last drag from his cigarette. He throws the remainder on the ground.)

(Outside, in perfect positions, the black helicopter hovers. A final missile is fired finding its intended target. The corridor and the cave fill with fire consuming the once-powerful man within.)

(The pueblos explode. Missiles upon missiles are fired until the entire mountainside is decimated. Their mission complete, the helicopters turn around and fly off into the horizon.)

CUT TO:

SCENE 29 

ROSWELL, NEW MEXICO

(Night. Outside a motel room, it's raining. Thunder rumbles. )

(Inside, MULDER is sitting on the floor, leaning back against the bed and his head resting back.)

SCULLY (o.s.): What are you thinking?

(MULDER is silent. Thoughtful.)

SCULLY: Mulder?

MULDER: I'm thinking ... I'm a guilty man. I've failed in every respect. I deserve the harshest punishment for my crimes.

SCULLY: (softly) You don't believe that.

(Mulder sighs.)

MULDER: I believe that I sat in a motel room like this with you when we first met and I tried to convince you of the truth. And in that respect, I succeeded, but ... in every other way ...

(MULDER turns to look at SCULLY)

MULDER: ... I've failed.

SCULLY: You don't believe that, either.

MULDER: Mmmm.

MULDER: I've been chasing after monsters with a butterfly net. You heard the man - the date's set. I can't change that.

SCULLY: You wouldn't tell me. Not because you were afraid or broken .... but because you didn't want to accept defeat.

MULDER: Well, I was afraid of what knowing would do to you.

(MULDER turns to look at SCULLY and confesses one of his greatest fears.)

MULDER: I was afraid that it would crush your spirit.

SCULLY: Why would I accept defeat? Why would I accept it, if you won't? Mulder, you say that you've failed but you only fail if you give up. And I know you -- you can't give up. It's what I saw in you when we first met. It's what made me follow you ... why I'd do it all over again.

MULDER: And look what it's gotten you.

SCULLY: And what has it gotten you? Not your sister. Nothing that you've set out for. But you won't give up, even now.

(SCULLY reaches out and takes hold of MULDER'S hand in a firm grip.)

SCULLY: You've always said that you want to believe. But believe in what Mulder? If this is the truth that you've been looking for then what is left to believe in?

MULDER: I want to believe that the dead are not lost to us. That they speak to us as part of something greater than us - greater than any alien force. And if you and I are powerless now, I want to believe that if we listen to what's speaking, it can give us the power to save ourselves.

SCULLY: Then we believe the same thing.

(SCULLY watches MULDER intently . MULDER looks like he Believes. SCULLY smiles at MULDER. MULDER reaches over and lightly picks up SCULLY'S cross. He reaches up and caresses her lips.)

(MULDER gets off of the floor and settles himself in bed next to SCULLY. He wraps himself around her, so that they are now holding each other closely.)

MULDER: (whispers) Maybe there's hope.

[Fade to black]

[THE *END*]

Siddhi

KING LEAR

Doth any here know me? This is not Lear:

Doth Lear walk thus? speak thus? Where are his eyes?

Either his notion weakens, his discernings

Are lethargied--Ha! waking? 'tis not so.

Who is it that can tell me who I am?

Fool

Lear's Shadow.

Scene 11 

X-Files office. The TV monitor is playing a tape of an Indian man sticking a burning torch into his mouth. 

CHUCK BURKS is showing it to SCULLY and DOGGETT.

CHUCK BURKS: 

They take religious devotion to an extreme.

They're called Fakir-- ascetic masters bound to acts of self-torture to attain enlightenment.

(Another image of an Indian man who has done some really weird and painful-looking stretching and piercing of his face.)

CHUCK BURKS: 

We shot this video when I was traveling through India back in the late '70s... 

Oh, man, look at my hair back then.

(On the video, a YOUNG CHUCK BURKS with very long dark hair grins and flashes a peace sign at the camera as another Indian messes around with a very dangerous looking snake.)

SCULLY: 

Agent Mulder consulted with Dr. Burks on occasion and I have to admit that I've been skeptical of him in the past but he does have certain insights.

DOGGETT: 

Well, we could use some insights.

CHUCK BURKS: 

Uh, well, I-I'm embarrassed to admit but I-I'm not sure I know what the heck's going on here.

SCULLY: 

These ascetic masters... they have abilities?

CHUCK BURKS: 

Oh, absolutely. 

An-and abilities similar to those you told me about on the phone have been ascribed to what are know as Siddhi mystics. 

The Siddhi are a very mysterious and particularly powerful order of Fakirs. 

These Siddhi, they pass on their secret practices from father to son 

gaining occult powers with each generation.

DOGGETT: 

What kind of powers?

(DOGGETT is not impressed with CHUCK BURKS. SCULLY is listening intently.)

CHUCK BURKS: 

Powers of the mind. 

Powers that help them manipulate reality. 

Powers that allow them to become invisible 

or tiny as an atom.

DOGGETT: 

Well, I hope they're tiny. 

Where, whoever it is, is going.

(SCULLY gives DOGGETT a look, then turns back to CHUCK BURKS.)

SCULLY: 

Chuck... Could one of these Siddhi mystics make you believe that he vanished in a room when in fact, he's standing right in front of you?

CHUCK BURKS: 

Totally. Or disguise themselves appearing in front of you as, uh, well, virtually anyone.

DOGGETT: 

I'm sorry, Dr. Burks, you're a... 

you're a professor of what?

CHUCK BURKS: 

I run the Advanced Digital Imaging lab at the University of Maryland. 

And, um, I dabble.

DOGGETT: 

You dabble. 

(to SCULLY, sarcastic) 

Well, this has been... insightful.

(DOGGETT leaves the room. CHUCK BURKS watches him go.)

CHUCK BURKS: 

Doesn't surprise me.

SCULLY: What?

CHUCK BURKS: 

It's hard to believe in something when you can't understand it.

(SCULLY nods slowly.)

KING LEAR

Now, my friendly knave, I thank thee: there's

earnest of thy service.

Giving KENT money

Enter Fool

Fool

Let me hire him too: here's my coxcomb.

Offering KENT his cap

KING LEAR

How now, my pretty knave! how dost thou?

Fool

Sirrah, you were best take my coxcomb.

KENT

Why, fool?

Fool

Why, for taking one's part that's out of favour:

nay, an thou canst not smile as the wind sits,

thou'lt catch cold shortly: there, take my coxcomb:

why, this fellow has banished two on's daughters,

and did the third a blessing against his will; if

thou follow him, thou must needs wear my coxcomb.

How now, nuncle! Would I had two coxcombs and two daughters!

KING LEAR

Why, my boy?

Fool

If I gave them all my living, I'ld keep my coxcombs

myself. There's mine; beg another of thy daughters.

KING LEAR

Take heed, sirrah; the whip.

Fool

Truth's a dog must to kennel; he must be whipped

out, when Lady the brach may stand by the fire and stink.

KING LEAR

A pestilent gall to me!

Fool

Sirrah, I'll teach thee a speech.

KING LEAR

Do.

Fool

Mark it, nuncle:

Have more than thou showest,

Speak less than thou knowest,

Lend less than thou owest,

Ride more than thou goest,

Learn more than thou trowest,

Set less than thou throwest;

Leave thy drink and thy whore,

And keep in-a-door,

And thou shalt have more

Than two tens to a score.

KENT

This is nothing, fool.

Fool

Then 'tis like the breath of an unfee'd lawyer; you

gave me nothing for't. Can you make no use of

nothing, nuncle?

KING LEAR

Why, no, boy; nothing can be made out of nothing.

Fool

[To KENT] 

Prithee, tell him, so much the rent of

his land comes to: he will not believe a fool.

KING LEAR

A bitter fool!

Fool

Dost thou know the difference, my boy, between a

bitter fool and a sweet fool?

KING LEAR

No, lad; teach me.

Fool

That lord that counsell'd thee

To give away thy land,

Come place him here by me,

Do thou for him stand:

The sweet and bitter fool

Will presently appear;

The one in motley here,

The other found out there.

KING LEAR

Dost thou call me fool, boy?

Fool

All thy other titles thou hast given away; that

thou wast born with.

KENT

This is not altogether fool, my lord.

Fool

No, faith, lords and great men will not let me; if

I had a monopoly out, they would have part on't:

and ladies too, they will not let me have all fool

to myself; they'll be snatching. Give me an egg,

nuncle, and I'll give thee two crowns.

KING LEAR

What two crowns shall they be?

Fool

Why, after I have cut the egg i' the middle, and eat

up the meat, the two crowns of the egg. When thou

clovest thy crown i' the middle, and gavest away

both parts, thou borest thy ass on thy back o'er

the dirt: thou hadst little wit in thy bald crown,

when thou gavest thy golden one away. If I speak

like myself in this, let him be whipped that first

finds it so.

Singing

Fools had ne'er less wit in a year;

For wise men are grown foppish,

They know not how their wits to wear,

Their manners are so apish.

KING LEAR

When were you wont to be so full of songs, sirrah?

Fool

I have used it, nuncle, ever since thou madest thy

daughters thy mothers: for when thou gavest them

the rod, and put'st down thine own breeches,

Singing

Then they for sudden joy did weep,

And I for sorrow sung,

That such a king should play bo-peep,

And go the fools among.

Prithee, nuncle, keep a schoolmaster that can teach

thy fool to lie: I would fain learn to lie.

KING LEAR

An you lie, sirrah, we'll have you whipped.

Fool

I marvel what kin thou and thy daughters are:

they'll have me whipped for speaking true, thou'lt

have me whipped for lying; and sometimes I am

whipped for holding my peace. I had rather be any

kind o' thing than a fool: and yet I would not be

thee, nuncle; thou hast pared thy wit o' both sides,

and left nothing i' the middle: here comes one o'

the parings.

Enter GONERIL

KING LEAR

How now, daughter! what makes that frontlet on?

Methinks you are too much of late i' the frown.

Fool

Thou wast a pretty fellow when thou hadst no need to

care for her frowning; now thou art an O without a

figure: I am better than thou art now; I am a fool,

thou art nothing.

To GONERIL

Yes, forsooth, I will hold my tongue; so your face

bids me, though you say nothing. Mum, mum,

He that keeps nor crust nor crum,

Weary of all, shall want some.

Pointing to KING LEAR

That's a shealed peascod.

GONERIL

Not only, sir, this your all-licensed fool,

But other of your insolent retinue

Do hourly carp and quarrel; breaking forth

In rank and not-to-be endured riots. Sir,

I had thought, by making this well known unto you,

To have found a safe redress; but now grow fearful,

By what yourself too late have spoke and done.

That you protect this course, and put it on

By your allowance; which if you should, the fault

Would not 'scape censure, nor the redresses sleep,

Which, in the tender of a wholesome weal,

Might in their working do you that offence,

Which else were shame, that then necessity

Will call discreet proceeding.

Fool

For, you trow, nuncle,

The hedge-sparrow fed the cuckoo so long,

That it's had it head bit off by it young.

So, out went the candle, and we were left darkling.

KING LEAR

Are you our daughter?

GONERIL

Come, sir,

I would you would make use of that good wisdom,

Whereof I know you are fraught; and put away

These dispositions, that of late transform you

From what you rightly are.

Fool

May not an ass know when the cart

draws the horse? Whoop, Jug! I love thee.

KING LEAR

Doth any here know me? This is not Lear:

Doth Lear walk thus? speak thus? Where are his eyes?

Either his notion weakens, his discernings

Are lethargied--Ha! waking? 'tis not so.

Who is it that can tell me who I am?

Fool

Lear's shadow.

KING LEAR

I would learn that; for, by the

marks of sovereignty, knowledge, and reason,

I should be false persuaded I had daughters.

Fool

Which they will make an obedient father.

KING LEAR

Your name, fair gentlewoman?

GONERIL

This admiration, sir, is much o' the savour

Of other your new pranks. I do beseech you

To understand my purposes aright:

As you are old and reverend, you should be wise.

Here do you keep a hundred knights and squires;

Men so disorder'd, so debosh'd and bold,

That this our court, infected with their manners,

Shows like a riotous inn: epicurism and lust

Make it more like a tavern or a brothel

Than a graced palace. The shame itself doth speak

For instant remedy: be then desired

By her, that else will take the thing she begs,

A little to disquantity your train;

And the remainder, that shall still depend,

To be such men as may besort your age,

And know themselves and you.

KING LEAR

Darkness and devils!

Saddle my horses; call my train together:

Degenerate bastard! I'll not trouble thee.

Yet have I left a daughter.

GONERIL

You strike my people; and your disorder'd rabble

Make servants of their betters.

Enter ALBANY

KING LEAR

Woe, that too late repents,--

To ALBANY

O, sir, are you come?

Is it your will? Speak, sir. Prepare my horses.

Ingratitude, thou marble-hearted fiend,

More hideous when thou show'st thee in a child

Than the sea-monster!

ALBANY

Pray, sir, be patient.

KING LEAR

[To GONERIL] 

Detested kite! thou liest.

My train are men of choice and rarest parts,

That all particulars of duty know,

And in the most exact regard support

The worships of their name. O most small fault,

How ugly didst thou in Cordelia show!

That, like an engine, wrench'd my frame of nature

From the fix'd place; drew from heart all love,

And added to the gall. O Lear, Lear, Lear!

Beat at this gate, that let thy folly in,

Striking his head

And thy dear judgment out! Go, go, my people.

ALBANY

My lord, I am guiltless, as I am ignorant

Of what hath moved you.

KING LEAR

It may be so, my lord.

Hear, nature, hear; dear goddess, hear!

Suspend thy purpose, if thou didst intend

To make this creature fruitful!

Into her womb convey sterility!

Dry up in her the organs of increase;

And from her derogate body never spring

A babe to honour her! If she must teem,

Create her child of spleen; that it may live,

And be a thwart disnatured torment to her!

Let it stamp wrinkles in her brow of youth;

With cadent tears fret channels in her cheeks;

Turn all her mother's pains and benefits

To laughter and contempt; that she may feel

How sharper than a serpent's tooth it is

To have a thankless child! Away, away!

Exit

ALBANY

Now, gods that we adore, whereof comes this?

GONERIL

Never afflict yourself to know the cause;

But let his disposition have that scope

That dotage gives it.

Re-enter KING LEAR

KING LEAR

What, fifty of my followers at a clap!

Within a fortnight!

ALBANY

What's the matter, sir?

KING LEAR

I'll tell thee:

To GONERIL

Life and death! I am ashamed

That thou hast power to shake my manhood thus;

That these hot tears, which break from me perforce,

Should make thee worth them. Blasts and fogs upon thee!

The untented woundings of a father's curse

Pierce every sense about thee! Old fond eyes,

Beweep this cause again, I'll pluck ye out,

And cast you, with the waters that you lose,

To temper clay. Yea, it is come to this?

Let is be so: yet have I left a daughter,

Who, I am sure, is kind and comfortable:

When she shall hear this of thee, with her nails

She'll flay thy wolvish visage. Thou shalt find

That I'll resume the shape which thou dost think

I have cast off for ever: thou shalt,

I warrant thee.

Exeunt KING LEAR, KENT, and Attendants

GONERIL

Do you mark that, my lord?

ALBANY

I cannot be so partial, Goneril,

To the great love I bear you,--

GONERIL

Pray you, content. What, Oswald, ho!

To the Fool

You, sir, more knave than fool, after your master.

Fool

Nuncle Lear, nuncle Lear, tarry and take the fool

with thee.

A fox, when one has caught her,

And such a daughter,

Should sure to the slaughter,

If my cap would buy a halter:

So the fool follows after.

Exit