Showing posts with label Metron. Show all posts
Showing posts with label Metron. Show all posts

Sunday 14 January 2024

Sineya

We enjoin that We may 
inhabit The Vessel --
The Hand... Daughter of Sineya... First of The Ones...


(Fade in on Buffy sleeping on the sofa, covered with a green blanket. We see that she still has the cut on her forehead that she got in "The Yoko Factor.")

ANYA: (whispers offscreen) 
Buffy! Wake up!)

(Buffy opens her eyes. She's lying on her bed in the dorm room, on her side, facing Willow's bed. The cut on her forehead is gone. She frowns.)

(sh*t of Anya lying in Willow's bed, under the covers.)

ANYA: (whispers) Buffy, you have to wake up right away!

BUFFY: I'm not really in charge of these things. (Closes eyes)

ANYA: (anxious) Please wake up. Oh please.

BUFFY: (opens eyes) I need my beauty sleep. So stop it, okay? (Rolls over onto her back)

(The creature is hanging from the ceiling above her. It snarls at her.)

(Cut to Buffy in her bed in Joyce's house, sitting up startled. The covers are rumpled around her. She lies back.)

(Cut to Buffy standing in the doorway of the bedroom, looking at the bed.)

BUFFY: Faith and I just made that bed.

(sh*t of the bed, still rumpled but now without Buffy in it.)

TARA: (offscreen) For who?

(Buffy frowns, looks to her left.)

BUFFY: I thought you were here to tell me.

(sh*t of Tara with her hair up, facing Buffy.)

BUFFY: (looking back at bed) The guys aren't here, are they? We were gonna hang out (looks at Tara) and, watch movies t-

TARA: You lost them.

BUFFY: No. (Looks confused) No. I think they need me to find them.

(sh*t of the digital alarm clock next to the bed, showing 7:30 AM.)

BUFFY: (upset) It's so late.

TARA: Oh ... that clock's completely wrong. Here.

(sh*t of Tara's hands holding out the Tarot card "Manus" (the hands). It has a picture of two hands crossed, one open, the other balled into a fist.)

BUFFY: I'm never gonna use those.

(Buffy's face in profile. Tara's face out of focus in background.)

TARA: You think you know ... what's to come ... what you are. You haven't even g*n.

(sh*t of the bed, now neatly made.)

(Buffy frowns.)

BUFFY: I think I need to go find the others.

(She leaves.)

TARA (softly) Be back before dawn.

(Fade to a school hallway. Can't tell if it's Sunnydale High or the college. It seems to have elements of both. Buffy walks through the halls wearing a flowered dress. She speaks to a random guy walking past.)

BUFFY: Have you seen my friends? (He shakes his head and walks on) They wouldn't just disappear.

(She looks around, walks down the halls. We see a row of lockers. Suddenly 

Buffy notices a hole in the wall. The plaster is torn back, revealing a layer of bricks with a face-sized hole. She walks over to it.)

BUFFY: Mom?

(Joyce's face appears in the hole.)

JOYCE: Oh, hi, honey.

BUFFY: Why are you living in the walls?

JOYCE: Oh, sweetie, no, I'm fine here. Don't worry about me.

(Buffy frowns, tries to see inside the hole.)

BUFFY: It looks dirty.

JOYCE: Well, it seems that way to you. (Smiling) I made some lemonade, and 

I'm learning how to play mah-jongg. You go find your friends.

BUFFY: I, I think they might be in danger.

(Joyce starts to laugh. Buffy looks confused.)

JOYCE: I-I'm sorry, dear. (Giggling) Um, a mouse is playing with my knees.

BUFFY: I, I really don't think you should live in there.

(Suddenly she looks over and sees Xander climbing up some stairs. Looks like the stairs leading to the library in UC Sunnydale.)

JOYCE: Well ... you could ... probably break through the wall. (Buffy walks toward stairs. Joyce watches her go)

(sh*t of Buffy's feet, wearing sandals, walking slowly down a hall.)

(sh*t of two men sitting at a conference table, facing each other, in a room with high ceilings and plain gray walls. On the left wall is a big map of the world. On the right, a row of cabinets. There are two empty chairs. 

In the foreground we still see Buffy's feet.)

(Man on the left speaks. It's Riley.)

RILEY: Hey there, k*ller.

BUFFY: (offscreen) Riley? You're back.

RILEY: I never left.

(Buffy's feet walk closer, as does the camera angle.)

BUFFY: (offscreen) But how did the debriefing go?

RILEY: I told you not to worry about that. It went great. They made me surgeon general.

(sh*t of Buffy looking surprised.)

BUFFY: Why didn't you come and tell me? We could have celebrated.

(sh*t of Riley sitting in the chair, wearing a suit.)

RILEY: Oh. (Looks at the other man ) We're drawing up a plan for world domination. (Looks back at Buffy, pleased.) The key element? Coffeemakers that think.

(Buffy frowns.)

BUFFY: World domination? I-is that a good?

RILEY: Baby, we're the government.

(He swings around in his chair to strike a James Bond-like pose. The camera sh**t him from below, through the glass tabletop. On the table we see a g*n.)

RILEY: It's what we do.

OTHER GUY: She's uncomfortable with certain concepts. (He's wearing a suit too, with no jacket.) It's understandable. Aggression is a natural human tendency. (Looks at Buffy) Though you and me come by it another way.

(sh*t of Buffy with the dark-haired creature behind her.)

BUFFY: We're not demons.

OTHER GUY: Is that a fact?

(sh*t of Buffy. The creature is gone.)

RILEY: 
Buffy, we've got important work here. 
(Same camera angle on Riley, 
the gun prominent in the foreground.
A lot of filing, giving things names.

BUFFY: (looks at other guy) 
What was yours?

OTHER GUY: 
Before Adam? (Shakes his head. 
Suddenly the lighting turns blue
Not A Man among us can remember.

(Buffy looks around at the blue lighting. In the background we see shadows moving; we hear noises like emergency doors slamming shut.)

COMPUTER VOICE: 
The Demons have escaped. 
Please run for your lives.

ADAM: 
This could be Trouble. (He and Riley stand)

RILEY: 
We better make A Fort.

ADAM: (nodding) 
I'll get some pillows. (Leaves)

(Buffy looks very nervous. Shadowy figures behind her seem to be moving closer. She looks down and sees her w*apon bag lying at her feet. Looks up.)

BUFFY: (gasping anxiously) Wait! I have weapons!

She sits on the floor and opens the bag. It's full of mud
Buffy frowns, putting her hands in the mud and moving them around. 
Lifts her hands, covered in mud. Brings them up and smears the mud on her face. Reaches in for more, rubs it all over her face as the colors invert again like a photo-negative.)

(Suddenly the color returns to normal and Buffy looks up 
with her "I'm gonna kick your ass" expression.)

RILEY: (offscreen) 
Thought you were looking for 
your friends. Okay, killer...

(shot of Riley wearing regular civilian clothes)

RILEY: ...if that's the way you want it. 
I guess you're on your own. (Walks off.)

(Buffy's still on the floor in the gray room surrounded by blue light. 
Suddenly a beam of sunshine lights her. She gets up and walks off.)

(Fade to Buffy's feet walking along a hallway, which turns to rippled sand like on a beach. She walks past a palm tree and is in the desert from before: rocks, scraggly bushes, sand. Again we hear the woman humming. 


Buffy walks down a hill. The camera zooms out and we can see more of the same landscape with mountains in the distance. A breeze ruffles her hair and dress.)

BUFFY
I'm never gonna find them here.

(She looks up and sees Tara far off, walking toward her. 
Tara has her hair up, wears a long pink skirt 
and matching top that exposes a lot of her stomach.)

TARA VOICEOVER
Of course not. That's the reason you came.

(Tara fades out and reappears closer, 
then this repeats. She stops walking.)

(shot of Buffy and Tara standing about thirty feet apart, facing each other with miles of desert stretching out behind them.)

BUFFY VOICEOVER
You're not in my dream.
TARA VOICEOVER
I was borrowed.

(shot of Tara standing with big rocks behind her. 
She wears a gold necklace.)

TARA
Someone has to speak for her.

(shot of Buffy standing with rocks, bushes and mountains behind.)

BUFFY
Let her speak for herself. 
(We see the dark-haired creature walking up behind her.
That's what's done in polite circles.
(The creature moves around to in front 
of Buffy and we finally get a good look at her. 
It's a dark-skinned woman with dreadlocks and long sharp fingernails.
Her face is painted with white or grayish paint, 
lines of black paint across her eyes, and she wears rags. 
She crouches low and walks around Buffy 
like a wild animal. She looks like a cavewoman.)

BUFFY
Why do you follow me?

(The woman shakes her head.)

TARA: (offscreen
I don't.

BUFFY
Where are my friends?

(Shot of the woman backing away from Buffy, 
still crouching down low.)

TARA: (offscreen) 
You're asking the 
wrong questions.

BUFFY: (firmly) 
Make her speak.

(The woman shakes her head again.)

TARA: (offscreen) I have no speech. No name.
I live in the action of death, the blood cry, the penetrating wound. (The woman straightens up and looks 

Buffy in the eye.)

TARA: 
I am Destruction
Absolute ... alone.

(Buffy frowns.)

BUFFY
The Slayer.

(The other woman looks at her.)

Tara: (offscreen) The first.

(sh*t of Buffy's hand, holding a bunch of Tarot-shaped cards. In the one on top we see a scene of Giles, Buffy, Willow, and Xander in Joyce's living room watching TV.)

(sh*t of Buffy looking at the card in her hand, with the mountains behind her.)

BUFFY
I am not alone.

(sh*t of Tara in the background, the First Slayer in the middle ground, and 

Buffy's back in the foreground.)

TARA: The Slayer does not walk in this world.

BUFFY: I walk.

(Side sh*t of the three of them.)

BUFFY: I talk. I shop, I sneeze. I'm gonna be a fireman when the floods roll back.

(sh*t of the First Slayer lifting her chin in anger.)

BUFFY: (offscreen) There's trees in the desert since you moved out. 
(The First Slayer shakes her head
And I don't sleep on 
a bed of bones.

(sh*t of Buffy's face.)

BUFFY: (firmly) Now give me back my friends.

(The First Slayer speaks in a very low, hoarse voice.)

FIRST SLAYER: No ... friends! Just the k*ll.

(sh*t of Buffy watching her.)

FIRST SLAYER: We ... are ... alone!

(The bald guy leans in between Buffy and the First Slayer, holding up two slices of cheese. He grins and shakes the cheese at Buffy, then retreats offscreen.)

BUFFY
That's it. I'm waking up.

(The First Slayer att*cks her, pushes her to the ground and tries to bash her head on it. African drum music begins.)

(Buffy rolls the First Slayer off her and kicks at her. They both get up. 

The First Slayer punches her.)

(Long sh*t of Buffy falling backward from the punch, slow-motion. No music.)

(Music resumes and the action returns to real-time. The First Slayer tries to punch down but Buffy rolls to her feet and kicks her in the back. She kicks again but the First Slayer ducks. Buffy punches.)

(Long sh*t of the First Slayer falling backward from the punch, slow-motion. No music. The first Slayer starts to get up.)

(One last drum-b*at as the action returns to real-time. The First Slayer gets up. Faceoff.)

(sh*t of Buffy shaking her head.)

BUFFY
It's over. (Woman humming begins again. First Slayer shakes her head
We don't do this any more.

(Drums begin again. The First Slayer grabs her again and they roll down a sandy hill, clutching each other and rolling over and over as the drums continue.)

BUFFY VOICEOVER
Enough!

(Cut to Buffy waking up on Joyce's floor. She lifts her head and looks around. Pan across Giles, Willow and Xander sleeping in their spots. Buffy groans and starts to get up.)

(Growl.)

(The First Slayer lands atop Buffy and starts stabbing repeatedly at the floor with her stake. sh*t of Buffy lying underneath the First Slayer, rolling her eyes.)

BUFFY
Are you quite finished?

(First Slayer pulls her stake out of the floor.)

BUFFY: 
It's over, okay? 
I'm going to ignore you, and 
you're going to go away.

(The First Slayer pulls back and Buffy sits up, then stands.)

BUFFY
You're really gonna have 
to get over the whole ... 
primal power thing. 
(walks toward the sofa)

(shot of the First Slayer 
staring at her.)

BUFFY: (over her shoulder
You're not The Source of Me.

(She picks up her blanket and sits back down on the sofa next to Willow. 

Another sh*t of the First Slayer staring at her.)

BUFFY
Also, in terms of hair-care, 
you really wanna say, 
what kind of impression 
am I making in 
The Workplace? '
Cause-


Thursday 27 October 2022

11 Minutes











GRACE:
This is amazing!

Life’s Champion :
 This is No Good. 
We don't even have enough auxiliary 
Power to move next door. 

(The Monitor is flashing Timing Malfunction.

Life’s Champion
The Beryllium chip. Grace. 

GRACE:
 Yes, Doctor. 

Life’s Champion
Careful 

GRACE
Yes, Doctor. 

(The Doctor opens a panel 
in the console.

GRACE
This looks pretty Low-Tech…. 

Life’s Champion
Low tech? Grace, this is 
Type-40 TARDIS, 
able to take you to any planet 
in the universe and to any date 
in that planet's existence

Temporal Physics

GRACE
Oh, you mean like 
interdimensional transference. 
That would explain 
the spatial displacement 
we experienced as 
we passed over 
the threshold.

Life’s Champion :
….Yes, if you like. 

(The Doctor gets the 
Beryllium chip attached.)

Life’s Champion :
 …Yes(The Cloister Bell stops.

Life’s Champion:
There! The Eye is closing. 
Now, let's see —

(He hits the console.)

Life’s Champion:
Come on! Oh, no. 


GRACE
What? 

Life’s Champion 
I've a horrible feeling 
we're already too late. 

GRACE
It's 11:48We still have 
11 minutes.

 Life’s Champion :
There is No Context. Hold on. 

(The Doctor throws a big lever and the ceiling turns into a representation of space.

GRACE
What are you doing? 

Life’s Champion :
I'm setting coordinates for 
one minute after midnight. 

GRACE
Why? 

Life’s Champion :
If this is True
The Eye has been open too long 
and There is No Future
I only Hope. Oh, no! 

(In the representation, planets start to explode.

GRACE
Is this thing reliable

Life’s Champion:
Whatever's Happening can't be stopped 
by closing The Eye.

GRACE
Well, how come you 
didn't know that? 

Life’s Champion :
I haven't opened 
The Eye before. 

GRACE
Now you tell me. 

Life’s Champion :
Grace, closing The Eye 
may not be Enough

We have to Go Back 
to before The Eye was opened. 
Maybe even before we arrived. 

GRACE
This is a Time-Machine….

Life’s Champion :
…with No Power. 

GRACE:
What? 

Life’s Champion :
The Eye being open so long 
must have drained the TARDIS. 

GRACE
Great! 

Life’s Champion :
I'm sorry. 

GRACE
You must have The Power 
to get back. You must

Life’s Champion
Not Enough

GRACE
What about all those 
glorious predictions? 
All that knowledge about 
What's Going to Happen to 
Gareth, to me, to This City? 
That must come from 
somewhere. Think

Life’s Champion
Wait, wait, wait, wait, wait!

…..are you any good at 
setting alarm clocks? 

GRACE
No!

Life’s Champion
Grace

GRACE:
I'll Try

Life’s Champion
Listen very carefully. 

GRACE:
 Okay. 

Life’s Champion :
We pre-set the coordinates 
just as I divert The Power 
from within The Eye itself 
into the time rotor, here

GRACE
We jump-start The TARDIS? 

Life’s Champion :
We jump-start The TARDIS.



millennial (adj.)
1660s, "pertaining to the millennium," from stem of millennium + -al (1). Meaning "pertaining to a period of 1,000 years" is from 1807. As a noun from 1896, originally "a thousandth anniversary." From 1991 as a generational name for those born in the mid-1980s and thus coming of age around the year 2000.
also from 1660s
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Trends of millennial

adapted from books.google.com/ngrams/
Entries linking to millennial

-al (1)
suffix forming adjectives from nouns or other adjectives, "of, like, related to, pertaining to," Middle English -al, -el, from French or directly from Latin -alis (see -al (2)).

millennium (n.)
1630s, "the 1,000-year period of Christ's anticipated rule on Earth" (Revelation xx.1-5); from Modern Latin millennium, from Latin mille "thousand" (see million) + annus "year" (see annual); formed on analogy of biennium, triennium, etc. 

For vowel change, see biennial

General (non-theological) sense of "an aggregate of 1,000 years, a period or interval of 1,000 years" is attested by 1711. 

Meaning "the year 2000 A.D." is attested by 1970.

“[T]he men of the modern world — up to a generation ago anyway — saw 2000 as a millennial year in the light of science. Men were then to be freed of want, misery, and disease; reason and advanced technology would rule; all would finally be for the best in what would then be the undoubted best of all possible worlds.

— Bulletin of the Atomic Scientists, 
December 1962


millennialism
post-millennial
premillennial

Sunday 21 August 2022

Alive





Darkseid Returns

ALL KNEEL, before 
The Risen God of All Evil
 
Desaad :
Welcome Home, 
oh, Mighty Darkseid. 

Darkseid :
Arise, My Children. 
Let this meaningless battle 
for Control end today. 

Of course, Lord. 
We had thought ourselves 
bereft forever. 

Darkseid :
Only the slimmest of chances 
has allowed me to 
overcome My Death 
at the hands of Superman

But let The Universe howl 
in Despair, for 
I have returned

[CHEERING] 
What is Your Will, My Lord? 

Darkseid :
As Ever, to Search for 
The Anti-Life Equation
that I may bring Order 
to This Aimless Universe. 

But first... Superman must 
Suffer for Killing Me

His adopted world 
will die, screaming. 
Only then will I seek 
The Ultimate End

Desaad :
Forgive me, Lord. 
But an attack on Earth 
would violate Your Pact 
with Highfather

New Genesis would 
doubtless retaliate

Darkseid :
Where Do You Think 
I'm Going next?

Saturday 4 December 2021

We are The Knights of Metron








“In my own opinion, all the people who "wonder what all the fuss is about" are, in fact, saying that they don't think that ANYTHING on Television is any good, or is WORTH investigating or appreciating

This is probably True in most cases and is a very sad comment on Television generally. 

The 'play safe' attitude of most people involved in The Media means that risks are NOT usually taken and, as a result, we hardly ever see anything original or 'out of the ordinary' on our TV screens. 

The powers-that-be seem to think that the most important thing as far as the viewers are concerned is to "keep 'em quiet" and "keep 'em happy" with plenty of 'cops & robbers', "soap operas, chat shows and endless snooker. 

Some people may regard The Prisoner as "just another TV series".

Others, myself included, regard it as the BEST series that has EVER appeared on Television. 

The Prisoner is The Exception to the usual 'play safe' rule of Television. Indeed it is, in fact, The Exception which PROVES The Rule. 

The Prisoner shows how GOOD Television CAN be if people with original and controversial ideas, and with the ability and determination to put those ideas into practice, are given the opportunity to do so.”

Saturday 1 May 2021

GET SOME SKIN IN THE GAME : I Think I'm in Love with Assistant-Protector Walter F. Skinner

A WAR IS NEVER OVER.
 
  


 
My Familiar Spirit.
 
The Past can be haunting.
 
 
Mud Lick :
 
Don’t forget to roll 
when you land.
 



Brother Sun:
Deputy-Director Kersh?
 
FBI Deputy-Director Kersh :
I’m gonna ask you once and only once :
Where is he?
 
Brother Sun:
Sir, of whom are we speaking?
 
FBI Deputy-Director Kersh :
Cut the crap, agents.
 
Have you ever wondered why,
after 35 years in The Bureau,
Walter Skinner isn’t sitting on this side of The Desk?
 
Or even, perhaps, running this whole damn agency, for that matter?
 
Sister Moon :
Are you looking for Skinner?
 
FBI Deputy-Director Kersh :
Let me be unambiguous
in the event that there are any questions about this 
in your Conspiracy-addled Minds :
 
Walter Skinner’s stalled carer 
has everything to do with his… 
Blind Loyalty to The Both of You
and your misguided search for some…. 
handwaving )
imaginary Truth.
 
Brother Sun:
Sir, what is this about?
 
 
FBI Deputy-Director Kersh :
Skinner’s gone AWOL, Agent Mulder.
Without warning or explanation.
 
And frankly, 
I don’t buy your naïveté,
not even for a moment.
 
He hasn’t been the same 
since The Two of You returned to The Bureau.
 
Sister Moon :
Sir, has anyone checked his apartment?
Could he have had some kind of a medical emergency?
 
FBI Deputy-Director Kersh :
The Director’s asking questions 
about Skinner’s activities
that I can’t answer.
 
There is some implication 
that he recently started poking-around
in places he shouldn’t be poking.
 
Brother Sun:
….What sort of places..?
 
FBI Deputy-Director Kersh :
I couldn’t say.
 
But if you Truly Care about His Future in The FBI,
suggest you bring him back here while he still has
a Future to return to.
 
 
 
 
 
Sister Moon :
What Happened to The Old, Reliable Skinner
we Knew and Loved?
 
Brother Sun:
Well, based on his dubious behaviour the past couple of months,
it’s safe to say The Old Skinner has left The Building.
 
 
 
 
 
Brother Sun :
Ambulance is on it’s way :
....I would call Kersh —
as soon as you get cell reception.
 
Skin-Man :
Something you wanna share?
 
Sister Moon :
Kersh…. Indicated to us, that wewere responsible 
for your lack of upward mobility in The Bureau.
 
Skin-Man :
If it wasn’t for You Two,
I wouldn’t be Here right now.
 
I’m not talking about the fact that you showed up here today.
 
Wincing, he painfully pulls down an old photo album 
from it’s shelving behind his right shoulder, 
onto his lap.
 
He opens it.
 
Removes a photograph of himself, 
and ’s Father, in Vietnam.
 
I enlisted in The Marine Corps 
the day that I turned 18.
 
I was a kid.
 
Full of callow Self-Confidence and Faith,
and this….
 
This kind of Uncorrupted Belief that
I Was Doing The Right Thing.
 
John James….
He didn’t enlist.
He, uh, he was drafted.
 
And His Whole Life 
was completely upended by a war that he really, 
truly didn’t even understand.
 
He was so afraid all the time.
I felt like I had to protect him.
 
But I didn’t.
 
couldn’t.
 
That experience in Vietnam with John, it...
it put a dent in that Blind Faith 
that I had in My Government.
 
It planted seeds of - 
of mistrust.
 
I tried for years to supress that mistrust,
but it gnawed at me.
 
he scoffs and shakes his head with a grin — 
 
Then You Two….
 
You Two came along, 
and you taught me,
not to hide from it, but to….
have the guts to Shine a Light
directly into The Darkest Corners.
 
And if given The Choice
between Advancing My Career
by being blindly loyal to some faceless puppeters 
pulling strings from The Shadows
or to Throw-in with You Two,
make no mistake about it,
 
I’d make The Same Decision
every single damn time.
 
M&S exchange a look of 
Pure Love for This Man 
across The Room.
 
So I’m gonna go back.
I’m gonna Kiss The Ring.
 
But I intend to 
Do Right by This Man.
John James )
And that means Finding The Truth 
of What The Hell it was They used him for.
 
No Matter The Cost.
 
I owe him that.
 
scoffs
 
I owe myself that.
 
His Wound is bothering him — 
As he rises, Scully Helps Him to Stand.
 
Before he reaches The Door, 
Mulder calls out after him, 
and he turns back to face them — 
 
Brother Sun :
Skinner.
We’re with You.
 
He half-smiles, nods grimly, 
gets a stoically firm grip on his emotions
and steps out into The Sunlight.



SCENE 5 
FBI HEADQUARTERS 
WASHINGTON, DC 
OFFICE OF PROFESSIONAL REVIEW

Scully is sitting in the office before a review board. 
Assistant Director Jana Cassidy is speaking to her. 

Assistant Director Walter Skinner 
is seated on the panel as well.

CASSIDY: 
In light of Waco and Ruby Ridge, 
there is a heightened need at the Attorney General's office 
to place responsibility as early as possible for the 
catastrophic destruction of public property 
and 
loss of life due to terrorist activities

Many details are still unclear, 
but we're under some pressure from the Attorney General 
to give an accurate picture of What Happened 
so that she can issue 
a public statement

We Know Now 
that five people died
in the explosion. 

Special ...

Mulder enters the room, late, 
and Cassidy pauses, looking up at him, 
as do Scully and Skinner.


CASSIDY: 
.. Special Agent In Charge Darius Michaud, 
who was trying to defuse the bomb, 
three firemen from Dallas 
and a young boy. 

I'd like to begin this interview ...

MULDER: 
Excuse me, excuse me —
The firemen and the young boy, they were found in the building?

CASSIDY: 
Agent Mulder, 
since you weren't able to be on time for this hearing, 
I'd like you to step outside so that we can hear Agent Scully's version of the facts 
so that she will not be paid the same disrespect.

MULDER: 
We'd been told the building was clear.

CASSIDY:
You'll get your turn, Agent Mulder, 
please step outside.

Mulder looks at Scully, then leaves the room. 
He is now seated on a bench in the hallway, eating sunflower seeds, husks and all

Skinner leaves the hearing room and joins him in the hallway. 

Mulder stands up.

SKINNER: 
Sit down, they're still talking to Agent Scully.

MULDER:
About what

he sits back down

SKINNER: 
They're asking her for 
a narrative
They want to know 
why she was in 
The Wrong Building.

MULDER: 
She was with me.

SKINNER: 
You don't see what's going on here, do you? 

There's forty-five million dollars worth of damage to the city of Dallas. 

Lives have been lost
No suspects have been named. 

So the story that's being shaped 
... is that this could have been prevented.

MULDER: 
They want to blame us?

Skinner sits down next to him.

SKINNER: 
Agent Mulder, you and I both know that 
if it looks bad, 
it's bad for the FBI

Blame has to be assigned somewhere

Mulder looks down at the ground, then looks up at Skinner.


MULDER: 
If they want somebody to blame, they can blame me
Agent Scully doesn't deserve this.

SKINNER: 
She's in there right now saying the same thing about you.

MULDER: 
I breached protocol. 
I broke contact with the SAC. 

I ignored a primary tactical rule 
and 
left him alone with the device.

SKINNER: 
Agent Scully says it was she who ordered you out of the building, 
that you wanted to go back in.

MULDER: 
No.

Both men stand as Scully leaves the hearing room 
and walks over to them.

SCULLY: 
(to Skinner) 
They're asking for you, sir.

SKINNER: 
Thank you. 
(he leaves)

MULDER: 
Whatever you told them in there, Scully, 
you don't have to protect me.

SCULLY: 
All I told them was The Truth.

MULDER: 
They're trying to divide us on this and we can't let them.

SCULLY: 
Mulder, they have divided us. They're splitting us up.

MULDER: 
What? What are you talking about?

SCULLY: 
I have a meeting with OPR day after tomorrow 
for remediation and reassignment.

MULDER: 
But They're the ones who put us together.

SCULLY: 
Because they wanted me to invalidate 
your investigations into the paranormal.

 But I think this goes 
deeper than that now.

MULDER: 
This is not about you, Scully. They're doing this to me.

SCULLY: 
They're not doing this. 

(pause as she collects her thoughts) 

Mulder, I left behind a career in medicine 
because I thought that I could make a difference at the FBI. 

But it hasn't turned out that way. 

And now if they were to transfer me to 
Omaha or Cleveland, or some field office, 
it just doesn't hold the interest for me that it once did. 

Not after what I've seen and done.

MULDER: 
(realizing what she's saying)
You're quitting.

SCULLY: 
Maybe you should ask yourself if your heart's still in it, too.
(Skinner comes back out for Mulder)

SKINNER: 
Agent Mulder, you're up.

SCULLY: (to Mulder) I'm sorry.
(Mulder begins to walk back to the boardroom)
SCULLY: Mulder. (she hands Mulder his jacket, which he left on the bench) Good luck.
(Mulder enters the hearing room. Scully pauses for a moment, then turns and leaves the building.)




SCENE 24 
OFFICE OF PROFESSIONAL REVIEW 
WASHINGTON, DC
(Scully is seated before the review board, her lovely face marked by the effects of her ordeal, frostbite and scratches.)

CASSIDY: 
In light report on the report I've got before me and in light of the narrative I am now hearing, my official report is incomplete -- pending these new facts I'm being asked to reconcile.

(While she speaks, we see a man entering the field office where the fossilized samples were kept. In the darkness of the closed office his flashlight lands on the tray containing the samples and he takes it away.)

CASSIDY: 
Agent Scully, though there is now direct evidence that a federal agent may have been involved in the bombing, the other events you've laid down here are too incredible on their own, and quite frankly implausible in their connections.

SCULLY: 
What is it you find incredible?

CASSIDY: 
Well, where would you like me to start?

(As we hear them speak, over the next couple of passages, we cut to somewhere in America's heartland as a freshly-painted tanker truck is prepared. The new sign painted on the side reads "Nature's Best Corn Oil". Next we see soldiers with flame torches setting a corn field ablaze.)

CASSIDY: 
So many of the events described in your report defy belief. 

Antarctica is a long way from Dallas, Agent Scully. 

I-- I can't very well submit a report to the Attorney General that alleges the links you've made here. 

Bees and corn crops do not quite fall under the rubric of domestic terrorism.

SCULLY: 
No, they don't.

CASSIDY: 
Most of what I find in here is lacking a coherent picture of any organization with an attributable motive. 

I realize the ordeal you've endured has clearly affected you. 

But the holes in your account leave this panel with little choice but to delete these references to our final report to the Justice Department--until which time hard evidence becomes available that would give us cause to pursue such an investigation.

(Scully stands up and walks over to the board, positioning herself directly in front of A.D. Cassidy. She places the vial containing the bee found in Mulder's hallway on the table, Cassidy picks it up and looks closely at it.)

SCULLY: I don't believe the FBI currently has an investigative unit qualified to pursue the evidence in hand.

(Scully then turns and leaves the room. Skinner looks at Cassidy, then the entire panel turns to stare at him. What are ya gonna do about THIS, Skinner?)


SCENE 25 
THE CAPITAL MALL
(Mulder is sitting on a bench by the reflecting pool reading a newspaper. He stares at a headline: "Local Hanta Virus Outbreak In Northern Texas Contained", looks up and sees Scully walking toward him. When she arrives, he hands her the paper.)
MULDER: There's an interesting work of fiction on page 24. Mysteriously, our names have been omitted. They're burying this thing, Scully. They're just going to dig a new hole and cover it up.
SCULLY: I told OPR everything I know. What I experienced, the virus, how it's spread by the bees from pollen in transgenic crops.
(He gets up and starts to walk away. She joins him.)
MULDER: You're wasting your time, Scully. They'll never believe you, not unless your story can be programmed, categorized, or easily referenced.
SCULLY: Well, then we'll go over their heads.
(He stops and turns to her.)
MULDER: No. No. How many times have we been here before, Scully? Right here. So close to the truth and now with what we've seen and what we know to be right back at the beginning with nothing.
SCULLY: This is different, Mulder.
MULDER: No it isn't! You were right to want to quit! You were right to want to leave me! You should get as far away from me as you can! I'm not going to watch you die, Scully, because of some hollow personal cause of mine. Go be a doctor. Go be a doctor while you still can.
SCULLY: I can't. I won't. Mulder, I'll be a doctor, but my work is here with you now. That virus that I was exposed to, whatever it is, it has a cure. You held it in your hand. How many other lives can we save? Look ... (she clasps his hand) ... If I quit now, they win.
(Hand in hand they walk off into the sunset .... sort of anyway.)



SCENE 26 
FOUM TATAOUINE, TUNISIA
(A helicopter flies over the vast desert. We then see CSM walking next to a cornfield, a native man yelling something in Tunisian into the crop. From out of the corn comes Strughold. He walks over to CSM.)
STRUGHOLD: You look hot and miserable. Why have you travelled all this way?
CSM: We have business to discuss.
STRUGHOLD: We have regular channels.
CSM: This involves Mulder.
STRUGHOLD: Ah. That name, again and again.
CSM: He's seen more than he should have.
STRUGHOLD: What has he seen? Of the whole he has seen but pieces.
CSM: He's determined now. Reinvested.
STRUGHOLD: He is but one man. One man alone cannot fight the future.
CSM: Yesterday, I received this.
(From out of his pocket, he pulls a telegram and hands it to Strughold. He reads it then drops it to the ground and walks away. CSM looks down at the telegram. It reads:
"X-FILES RE-OPENED. STOP. PLEASE ADVISE. STOP."
CSM looks up, then walks away. The camera pans above the scene to show the huge cornfield in the middle of the desert ...)
[THE END]


[In the upturned car, Mulder struggles to free himself. There his blood on his face. He pulls himself out and gets to his feet.]
[Back in the FBI. A cell phone rings.]
SAC FOSSA: FBI Special Agent in Charge Fossa speaking. It's for you.
[She hands the phone to Drummy and walks away.]
DRUMMY: This is Special Agent Drummy.
SCULLY: I've been trying to find you for hours. I can't reach Mulder.
DRUMMY: Is this Dr. Scully?
SCULLY: Yes, it's Dr. Scully.
DRUMMY: Where is he?
SCULLY: If I knew that I wouldn't be calling.
DRUMMY: Dr. Scully, I'm going to suggest you call the police. This is not an FBI matter.
SCULLY: Listen to me! I need your help!
DRUMMY: I'm sorry, I can't help you.
SCULLY: Then let me talk to somebody there with some balls who can.
[Back in the makeshift operating theatre, a gowned figure approaches Cheryl's wooden kennel. The woman speaks Russian to Cheryl who backs away in fear. ]
CHERYL: Don't touch me!
[More people come over and drag her out. The Russian doctor injects her and she loses consciousness. The snowplough truck drives along a snow-packed track, then suddenly stops as the snowplough drops to the ground, fluid leaking. Mulder is walking a road in the falling snow. He sees the truck down the side-road and jogs towards it. He opens the driver's door. It's unoccupied. He looks around, then picks up a wrench. He jogs further down the track. In the operating area, Dacyshyn sits by Tomczesyn's operating table, talking softly to him.]
DACYSHYN: You're going to be fine.
[Cheryl is carried to another operating table. The Russian doctor comes over with an injection. He pulls down the blanket, showing surgical sutures around Tomczesyn's neck and below that a much paler, mottled body.]
DACYSHYN: I've taken care of it. I've taken good care of it. You don't need this one.
[Cheryl, barely conscious, is lowered into an ice bath. Mulder has now reached the chain-link fence surrounding the compound. The surgeon begins removing the sutures around Tomczesyn's neck. Dacyshyn speaks to Tomczesyn.]
SURGEON: Look at me. You're going to live. You're going to have a fine, strong body.
[The Russian doctor speaks Russian to Dacyshyn, waving him away. In the ice bath, Cheryl's neck is being swabbed with iodine. Mulder climbs over the chain-link fence. A guard dog rushes at him and knocks him down. Dacyshyn hears the dog barking. The Russian doctor speaks to him and he rushes off and out of the house. He looks around, then hears the dog whimpering. Other dogs continue to bark. The Russian doctor starts cutting the skin of Cheryl's neck. Dacyshyn runs over to the whimpering dog. It has two heads. He sees blood on the snow nearby. He sees footprints going towards the house.]
[Mulder's car has been found and tow truck drivers prepare to drag it out. Another vehicle arrives and parks alongside a police car. Scully gets out. A patrol officer approaches her.]
COP: Excuse me.
SCULLY: I'm Dana Scully and that's my car.
COP: Right. I talked to some bigwig down at the FBI, called from Washington.
SCULLY: Yeah, that's him. Walter Skinner.
[Skinner walks up.]
SCULLY: Is there any indication what happened, or any footprints?
COP: Nothing. The snow is pretty heavy. But we did find this, you might want to give it to him. Excuse me.
SCULLY: It's his cell phone. It's got blood on it.
SKINNER: Hey, listen to me, calm down, stop and think. He's okay. He's got to be. He climbed out of this thing, he climbed out, he probably climbed up.
[Dacyshyn walks around the compound and goes to the chute that Cheryl had tumbled down. Mulder is crouched just inside and can see his shadow through the plastic covering the entrance. Dacyshyn walks on and Mulder listens to his footsteps moving away. In the ice bath, tubes have been inserted into Cheryl's neck through the incisions. A machine is switched on and blood starts circulating through the tubes. Tomczesyn's head has now been removed. Mulder peers through the plastic surrounding the operating area, then moves inside. He starts to speak, but he is shocked at what he's seeing and his voice is very quiet.]
MULDER: Stop what you're doing.
[They don't hear him, then he regains his voice and shouts.]
MULDER: Stop! Back off!
[He holds up the wrench, advancing towards them. They all speak in Russian.]
MULDER: Back away! Back off!
[The people continue to speak in Russian.]
MULDER: You speak English? Anybody speak English? I want her out of here. I want those tubes out of her neck and I want her neck sewn up. Do it! Do it!!
[Mulder goes over to the operating table, pulls back the sheet and sees the headless body. He grimaces.]
MULDER: Are you going to do what I say!
[The Russian doctor approaches him, frantically speaking in Russian. Mulder looks over to an ice bucket in which Tomczesyn's head has been place. The eyes open. The Russian doctor then injects Mulder with his tranquillizer. Dacyshyn comes into the room as Mulder crumples to the floor. He grabs Mulder and pull him and punches him in the face. Mulder falls to the floor.]
[Skinner drives his car, Scully in the passenger seat. ]
SKINNER: We will find him.
[Scully looks upset.]
SKINNER: I know Mulder. He'd get to a phone and call first. He wouldn't do anything crazy.
[She looks at him.]
SKINNER: Not overly crazy.
[Dacyshyn drags the headless body outside, then returns for the unconscious Mulder. He drags Mulder outside and then into a shed alongside the headless body. Mulder groans.]
[In Skinner's car, Scully has seen something.]
SCULLY: Wait a minute. Back up.
[Skinner brings his car to a halt, alongside a parked vehicle, then reverses back up the road.]
SCULLY: Stop.
[She gets out the car and walks over to a row of mail boxes. Skinner follows her.]
SKINNER: What is it?
[Scully stops at one mailbox that has the numbers 25 and 2 on it.]
SCULLY: Proverbs 25:2.
[In the shed, Dacyshyn lifts the headless body onto a chopping block. Mulder is groggy but notices the arm of the headless body, and sees a medical ID bracelet on it. Dacyshyn brings down an axe.]
[Scully opens the mailbox and looks through the mail. As she does so she quotes what Father Joe had said to her.]
SCULLY: The glory of God to hide a thing. I've got it. It's an invoice for medical supplies to a Dr. Uroff-Koltoff. It's an address on Bellflower Road.
[They look around.]
SKINNER: Maybe I could Google it.
[He takes out his phone.]
SCULLY: Listen.
SKINNER: What?
[They look around, seeking the source of the noise.]
SCULLY: Dogs. Dogs!
[In the shed, Mulder watches as Dacyshyn puts severed body parts into a black plastic bag. The axe is embedded in the chopping block. He reaches and gets hold of it, but he's still very weak. Dacyshyn intervenes, and pulls Mulder on to the chopping block. He starts sharpening the axe, smiling as he does so. He raises the axe, about to cut off Mulder's head, when he's hit by Scully wielding a long piece of wood. He falls to the ground. Scully goes to Mulder.]
SCULLY: Mulder. Can you hear me?
MULDER: Sorry about your car. The girl is still inside.
[Inside, the surgeon starts cutting into Cheryl's neck.]
SKINNER: Show me your hands!
[Skinner has his gun aimed at them. They speak in Russian to him.]
SKINNER: Put the scalpel down. Put that scalpel down!
[They continue to argue with him in Russian.]
SKINNER: Just put it down or I'll blow your goddamn hand off.
[The surgeon drops the scalpel and Skinner pushes him away.]
SKINNER: Get over there!
[He sees Cheryl in the ice tank.]
SKINNER: God, what have you done?
[The surgeon still argues with him in Russian.]
SKINNER: What have you done?!
[Scully enters.]
SCULLY: Mulder needs warm clothes and fluids.
[He indicates Cheryl in the ice bath.]
SCULLY: Oh, god.
[Scully takes off her coat.]
SCULLY: I've got work to do here.
[Skinner orders the people into the dog kennels.]
SKINNER: Get in! Get in!
[Scully scrubs up while Skinner goes outside to find Mulder.]
SKINNER: Mulder.
MULDER: The girl inside.
SKINNER: Scully's got her. She's in good hands.
MULDER: Skinner?
SKINNER: Yeah.
MULDER: I'm cold.
SKINNER: I got you. I got you.
[Skinner puts his coat around Mulder, then holds on to him to keep him warm.]

[It is day. Scully's car is parked outside their home. Inside, Mulder cuts out a newspaper article titled "FBI arrest modern-day Frankenstein doctor". Scully comes into his office.]
SCULLY: Mulder?
MULDER: What's up, doc?
SCULLY: Father Joe is dead.
[He turns round to look at her.]
SCULLY: He was clearly a very sick man.
[He tears a page from the newspaper.]
MULDER: Did you see this story? The FBI's claiming Father Joe was an accomplice. Not a word about his psychic connection.
SCULLY: He's dead, Mulder. We'll never know.
MULDER: I know, Scully, and I can prove it. Father Joe died of lung cancer, right? The same as that man that Dr. Frankenstein tried to give a new body.
SCULLY: Mulder.
MULDER: What time did you pull those tubes from that woman's neck. What time did you cut off the blood supply to that man's head? That's when Father Joe died. You get me his death certificate and I'll show it to you, and then I'll take it to the FBI and I'll show them.
SCULLY: Do you think they're really going to take your call?
MULDER: It's an injustice to the man's name.
SCULLY: Well, considering his crimes against those young boys, who is really going to care?
MULDER: I thought you believed him too.
SCULLY: I wanted to believe him. I did believe him. I acted on that belief.
[There's a pause. Scully is upset.]
MULDER: Why don't you just tell me what he said to you.
[She shakes her head. Mulder moves over to the poster on the wall and pins up the newspaper cutting which has a photograph showing Drummy leading away the Russian surgeon.]
SCULLY: He told me: Don't give up.
[Mulder turns to face her.]
SCULLY: And I didn't, and it saved your life. But I've put that boy through hell. And I have another surgery scheduled for this morning, because I believed that God was telling me to. Through a pedophile priest, no less.
MULDER: What if Father Joe's prayers were answered after all? What he were forgiven, because he didn't give up.
SCULLY: Try proving that one, Mulder. I'm due at the hospital.
[Scully leaves the house and walks up to the car. Mulder comes out of the front door onto the porch.]
MULDER: Scully? Why would he say that - "Don't give up"? Why would he say such a thing to you?
SCULLY: I think that was clearly meant for you, Mulder.
MULDER: He didn't say it to me. He said it to you. If Father Joe were the devil, why would he say the opposite of what the devil might say? Maybe that's the answer. The larger answer.
SCULLY: What do you mean?
MULDER: Don't give up.
[Scully starts to cry.]
SCULLY: Please don't make this any harder than it already is.
[He puts his arms around her.]
MULDER: If you have any doubts, any doubts at all, just call off that surgery this morning. And then we'll get out of here. Just me and you.
[Scully pulls away and looks closely at him, smiling slightly.]
SCULLY: As far away from the darkness as we can get?
[Mulder smiles.]
MULDER: I'm not sure it works that way. I think maybe the darkness finds you and me.
SCULLY: I know it does.
MULDER: But let it try.
[They both smile. Then kiss. Then Scully gets into her car.]

[The hospital. Scully walks down a corridor. She crosses paths with a woman who stares at her as she passes. She sees Christian's parents talking to Father Ybarra. She walks up the stairs. A little later, in the operating room, Scully prepares for the next procedure on Christian. She walks to the operating table, where Christian looks at her.]
WOMAN: Are you ready to begin, Dr. Scully?
[She looks around at the other people in the operating room. She sees three nuns looking in through the glass door. She steadies herself.]
SCULLY: Yes.
[She smiles at Christian.]


Brother Sun:
Deputy-Director Kersh?
 
FBI Deputy-Director Kersh :
I’m gonna ask you once and only once :
Where is he?
 
Brother Sun:
Sir, of whom are we speaking?
 
FBI Deputy-Director Kersh :
Cut the crap, agents.
 
Have you ever wondered why,
after 35 years in The Bureau,
Walter Skinner isn’t sitting on this side of The Desk?
 
Or even, perhaps, running this whole damn agency, for that matter?
 
Sister Moon :
Are you looking for Skinner?
 
FBI Deputy-Director Kersh :
Let me be unambiguous,
in the event that there are any questions about this
in your Conspiracy-addled Minds :
 
Walter Skinner’s stalled carer
has everything to do with his…
Blind Loyalty to The Both of You
and your misguided search for some….
( handwaving )
imaginary Truth.
 
Brother Sun:
Sir, what is this about?
 
 
FBI Deputy-Director Kersh :
Skinner’s gone AWOL, Agent Mulder.
Without warning or explanation.
 
And frankly, 
I don’t buy your naïveté,
not even for a moment.
 
He hasn’t been the same
since The Two of You returned to The Bureau.
 
Sister Moon :
Sir, has anyone checked his apartment?
Could he have had some kind of a medical emergency?
 
FBI Deputy-Director Kersh :
The Director’s asking questions
about Skinner’s activities
that I can’t answer.
 
There is some implication 
that he recently started poking-around
in places he shouldn’t be poking.
 
Brother Sun:
….What sort of places..?
 
FBI Deputy-Director Kersh :
I couldn’t say.
 
But if you Truly Care about His Future in The FBI,
I suggest you bring him back here while he still has
a Future to return to.
 
 
 
 
 
Sister Moon :
What Happened to The Old, Reliable Skinner
we Knew and Loved?
 
Brother Sun:
Well, based on his dubious behaviour the past couple of months,
it’s safe to say The Old Skinner has left The Building.
 
 
 
 
 
Brother Sun :
Ambulance is on it’s way :
....I would call Kersh —
as soon as you get cell reception.
 
Skin-Man :
Something you wanna share?
 
Sister Moon :
Kersh…. Indicated to us, that we were responsible 
for your lack of upward mobility in The Bureau.
 
Skin-Man :
If it wasn’t for You Two,
I wouldn’t be Here right now.
 
I’m not talking about the fact that you showed up here today.
 
Wincing, he painfully pulls down an old photo album
from it’s shelving behind his right shoulder, 
onto his lap.
 
He opens it.
 
Removes a photograph of himself,
and ’s Father, in Vietnam.
 
I enlisted in The Marine Corps
the day that I turned 18.
 
I was a kid.
 
Full of callow Self-Confidence and Faith,
and this….
 
This kind of Uncorrupted Belief that
I Was Doing The Right Thing.
 
John James….
He didn’t enlist.
He, uh, he was drafted.
 
And His Whole Life
was completely upended by a war that he really,
truly didn’t even understand.
 
He was so afraid all the time.
I felt like I had to protect him.
 
But I didn’t.
 
I couldn’t.
 
That experience in Vietnam with John, it...
it put a dent in that Blind Faith
that I had in My Government.
 
It planted seeds of -
of mistrust.
 
I tried for years to supress that mistrust,
but it gnawed at me.
 
he scoffs and shakes his head with a grin — 
 
Then You Two….
 
You Two came along,
and you taught me,
not to hide from it, but to….
have the guts to Shine a Light
directly into The Darkest Corners.
 
And if given The Choice
between Advancing My Career
by being blindly loyal to some faceless puppeters
pulling strings from The Shadows
or to Throw-in with You Two,
make no mistake about it,
 
I’d make The Same Decision
every single damn time.
 
M&S exchange a look of
Pure Love for This Man
across The Room.
 
So I’m gonna go back.
I’m gonna Kiss The Ring.
 
But I intend to
Do Right by This Man.
( John James )
And that means Finding The Truth
of What The Hell it was They used him for.
 
No Matter The Cost.
 
I owe him that.
 
scoffs
 
I owe myself that.
 
His Wound is bothering him — 
As he rises, Scully Helps Him to Stand.
 
Before he reaches The Door, 
Mulder calls out after him,
and he turns back to face them — 
 
Brother Sun :
Skinner.
We’re with You.
 
He half-smiles, nods grimly, 
gets a stoically firm grip on his emotions
and steps out into The Sunlight.