The characters, plotlines, quotes, etc. included here are owned by
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transcript is in no way a substitute for the show "The X-Files" and is
merely meant as a homage. This transcript is not authorized or
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It was painstakingly typed out by Mark Rooney
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from my website, Tiny Dancer's X-Files Episode Guide
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Enjoy.
--------------------------------------------
S Q U E E Z E
Season One
Episode Three
T H E T R U T H I S O U T T H E R E
<- BALTIMORE, MARYLAND ->
(The camera pans over the city to an overhead view of a man leaving a
restaurant. The man, dressed in a suit, walks along the street.
The view changes to show a drain on the sidewalk. The scene with the
man suddenly fades to black and white with only the man staying in color.
The camera moves closer to the drain and a shape can be seen within it.
The man stands opening the trunk of a car, as the shape in the drain gets
closer, we see it is a pair of eyes)
(Next we see the man stepping out of an elevator, from a security monitor,
the camera pans right to show the man walking away from the elevators
and passed some offices. The elevator doors open but the elevator is not
there. The cables in the shaft are shaking. A desklight is turned on inside
an office and the man sits down, picks up the phone and dials a number)
MRS. USHER: Hi, you're reached the Usher residence, please leave a
message at the tone, thank you.
(The man picks up, and shakes an ornamental snowstorm)
MR. USHER: Hi honey, it's about 8:30 and erm, I'm gonna be here for a while.
The presentation didn't go so well, call me, I love you, bye.
(The man, Mr. Usher, then lifts up a mug from his desk and leaves his
office. Meanwhile, we see a narrow ventilation shaft, one of the screws,
on the cover, seems to unscrewing itself, and then the cover opens.
The man pours himself a cup of coffee, a hand emerges from the shaft.
The man walks back to his office, as he enters, the door suddenly slams
shut. There are screams and the door handle moves up and down as the
man tries desperately to get out of the office. Part of the door suddenly
breaks outwards in the struggle and then the struggle is over)
(Inside the office, blood is dripping onto the carpet, the desk is scattered
with papers also covered in blood. In a reflection, from an object on the
desk, we see the man lying dead, blood covering his face. The cover of
the shaft is pulled closed and the screw, rescrews itself in place)
<- WASHINGTON, D.C. ->
TOM COLTON: Guess who I ran into from our class at Quantico?
Marty Neill.
(Tom Colton is sitting having lunch with Dana Scully, in a restaurant)
SCULLY: J. Edgar Jr.
TOM COLTON: Just got bumped up, Foreign Counter Intelligence,
New York City Bureau, Supervisory, Special Agent.
SCULLY: Supervisory.
TOM COLTON: That's right.
SCULLY: Two years out of the academy, how'd he land that?
TOM COLTON: Lucked into the World Trade Center bombing.
SCULLY: Well, good for Marty.
TOM COLTON: Oh, come on Dana, the guy is a loser, look where he
is now. That's where we should be.
SCULLY: Brad Wilson told me, the pyshological profile you wrote on
the Washington Crossing Killer led them straight to the suspect.
Word has it, you're on the Violent Crime Section's fast track.
TOM COLTON: So how are you doing?
Have you had any close encounters of the third kind?
SCULLY: Is that what everyone thinks I do?
TOM COLTON: No, of course not. But you do work with Spooky Mulder.
SCULLY: Mulder's ideas may be a bit out there but he is a great agent.
TOM COLTON: Yeah, well, I've got this case that's, out there.
Baltimore PD cops, they want our help on a serial killer profile.
Three murders began six weeks ago, victims vary in age, race,
gender, no known connections to each other.
SCULLY: I take it there's a pattern.
TOM COLTON: Point of entry. Actually, the lack of one.
SCULLY: What do you mean?
TOM COLTON: One victim, college girl, killed in her ten by twelve center
block dorm room. She was found with the windows locked and the door
chained from the inside. The last incident, two days ago, high security
office building, nothing on the security monitors, janitor spoke to the
victim minutes before the murder, didn't hear or see a thing out of the
ordinary.
SCULLY: Suicides?
(Tom picks up a photo from beside him and gives it to Scully)
TOM COLTON: Each victim was found with their liver, ripped out.
No cutting tools used.
SCULLY: Bare hands. This looks like an X-file.
TOM COLTON: Let's not get carried away. I'm gonna solve these murders
but, what I would like from you is, to go over the case histories.
Maybe, come down to the crime scene.
SCULLY: Do you want me to ask Mulder?
TOM COLTON: Ok, if he wants to come and do you a favor, great.
But make sure he knows this is my case. Dana, if I can break a case
like this one, I'll be getting my bump up the ladder. And you, maybe
you won't have to be Mrs. Spooky anymore.
<- CRIME SCENE. GEORGE USHER'S OFFICE.
BALTIMORE, MARYLAND ->
(Mulder and Scully are standing in Usher's office)
MULDER: So why didn't they ask me?
SCULLY: They're friends of mine from the academy, I'm sure they just
felt more comfortable talking to me.
MULDER: Why would I make them so uncomfortable?
SCULLY: It probably has to do with your reputation.
MULDER: Reputation? I have a reputation?
SCULLY: Mulder, look. Colton plays by the book and you don't.
They feel your methods, your theories are...
MULDER: Spooky? Do you think I'm spooky?
VOICE: Agent Scully's in here sir.
(Tom enters)
TOM COLTON: Dana, sorry I'm late.
SCULLY: We just got here. Er, Fox Mulder, Tom Colton.
TOM COLTON: So, Mulder, what do you think, does this look like the
work of little green men?
MULDER: Grey.
TOM COLTON: Excuse me.
MULDER: Grey. You said green men, a Reticulan skin tone is actually
grey, they're notorious for their extraction of terrestrial human livers.
Due to iron depletion in the Reticulan galaxy.
TOM COLTON: You can't be serious.
MULDER: Do you have any idea what liver and onions go for on Reticula?
'Scuse me.
(Mulder walks off to look around the office, Tom can be heard talking
to Scully in the background, Mulder looks down as he sees something)
TOM COLTON: Dana, I've been thinking about this and I have a theory,
might explain alot, tell me what you think. (Mulder bends down to pick
up, using tweezers, what looks like a piece of metal thread) What if the
guy enters... (Mulder looks at the thread and then looks up and sees
the cover to the ventialtion shaft) Hold on a second. What in the hell's
he doing? (Mulder lifts up a small brush and dusts around the cover)
Err, that vent is six inches by about eighteen, even if a Reticulan could
crawl through, it's screwed in place. (Mulder has revealed an elongated
fingerprint)
<- X-FILES OFFICE ->
(Mulder has several slides on a lightbox showing fingerprints)
MULDER: This is the print I took yesterday from Usher's office, these
others are from an X-file. Ten murders, Baltimore area, undetermined
points of entry, each victim had their liver removed. These prints were
discovered at five of the ten crime scenes.
SCULLY: Ten murders, Colton never mentioned..
MULDER: Most likely, he's not aware of them. These two prints were
lifted five years before he was born at Palhatton Mill. And these three
were lifted probably, five years before his mother was even born.
SCULLY: Are you saying, these prints are from the 1960's and the 1930's?
MULDER: And fingerprinting was just coming into its own in 1903,
but there was a murder involving an extracted liver.
SCULLY: Of course.
(Scully wheels her chair away from the table and stands up)
MULDER: Now that's five murders every thirty years.
That makes two more to go this year.
SCULLY: You're saying these are copy-cats.
MULDER: What did we learn in our first day at the academy, Scully?
Each fingerprint is unique, these are a perfect match.
SCULLY: Are you suggesting that I go before the Violent Crime Section
and present a profile declaring that these murders were done by aliens?
MULDER: No, of course not, I find no evidence of alien involvement.
SCULLY: Well, what then? That, that this is the work of a hundred
year old serial killer who is capable of overpowering a healthy six foot
two businessman.
MULDER: And he should stick out in a crowd with ten inch fingers.
SCULLY: Look, bottom line, this is Colton's case.
(Mulder get up and stands beside Scully)
MULDER: Our X-file dates back to 1903, we had it first.
SCULLY: Mulder, they don't want you involved. They don't want to hear
your theories. That's why Blevins has you hidden away down here.
MULDER: You're down here too. Look, why don't we agree to this,
they'll have their investigation, we'll have ours and never the twain
shall meet. Agreed?
<- SCULLY'S APARTMENT ->
(Scully is typing up her report from a tape recording of her views)
After a careful review of the violent and powerful nature of these murders,
I believe the killer to be a male, twenty-five to thirty-five years of age,
with above average intelligence. (We see the blueprints of a building,
probably of the floor where George Usher worked) His matter of entry
has so far been undetectable, this may be due to his superior knowledge
of the inner-structure of buildings and duct works. Or that he in fact hides
in plain sight, posing as delivery or maintenace workers. (Scully lifts up
a slide of an elongated fingerprint and looks at it) The extraction of the
liver is the most significant detail of these crimes. The liver possesses
regenerative qualities, it cleanses the blood, (Scully's report continues
but now she is telling it to Tom Colton and his superiors in a meeting)
the taking of this trophy is the transferring act for the killer to, cleanse
himself of his own impurities. I think he is acting under, the classic
form of obsessive compulsive behaviour. Now since the victims are
unrelated, and we cannot predict who will be next, we must utilize
the fact that a killer will not always succeed in finding a victim. When
this occurs, a serial killer may, return in frustration to the sight of a
previous murder, hoping to, recapture the emotional high. I think our
best course of action is to target these sights.
DET. JOHNSON: Good job, Agent Scully. If there are no objections,
I'd like to begin our stakeouts of the murder sites tonight. We're looking
for a male, twenty-five to thirty-five, possibly wearing a uniform, gas
company, UPS, whatever. I know you're assigned to another area,
Scully, but if you don't mind some overtime, you're welcome to come
aboard with us, on this. Erm, that is if you don't mind working in an area
that's a bit more down-to-earth.
<- CRIME SCENE, 7:15 P.M. ->
(Scully is sitting in a car on a floor of the building's car park)
WALKIE-TALKIE: Position ten, do you check?
SCULLY: Position ten, I copy.
(Scully hears noises and gets out of the car and removes her gun.
She walks forward to a wall and we hear the sound of someone running.
As a man jumps through a large circular hole in the wall, Scully points
her gun at him. It's Mulder, who stops and raises his hands)
MULDER: You wouldn't shoot an unarmed man, would ya copper?
(Scully walks back to her car)
SCULLY: Mulder, what the hell are you doing here?
MULDER: He's not coming back here, his thrill is derived from the
challenge of unseemingly impossible entry. He's already beaten this
place, if you'd read the X-file on the case, you'd come to the same conclusion.
SCULLY: Mulder, you are jeopardising my stakeout.
MULDER: Seeds? (Mulder holds up a bag he is carrying)
You're wasting your time, I'm going home.
(Mulder leaves and Scully gets back into the car. As Mulder is walking
away he hears some noises, he stands behind a pillar but sees no one.
He walks towards a caged off area of the car park and sees movement
inside a ventilation duct. Mulder runs back to Scully)
MULDER: Scully, call for backup and get over here.
SCULLY: Position ten requesting backup.
(Scully gets out of the car and runs over to Mulder, who is standing at a
wall looking at the area with the ventilation ducts)
MULDER: In there.
(Mulder and Scully run over to the cage, and seeing the movement for
herself, Scully points her gun at the duct)
SCULLY: Federal Agent, I'm armed. Proceed down the vent, slowly.
(A foot kicks open the duct hatch and a man exits, he slowly stands
up and turns around holding his hands up. Several agents come running
to the scene)
TOM COLTON: Take `im.
AGENT: Alright, move, move, move.
AGENT 2: FBI.
AGENT: Don't move, don't move, get your hands up, keep `em up.
AGENT 2: You're under arrest. You have the right to remain silent..
MULDER: You were right.
(In the background we can hear an agent reading the man his rights)
<-F. B. I. BUREAU. BALTIMORE MARYLAND ->
(The man arrested is taking a polygraph test, the examiner is marking
the parts of the printout that are the man's answers)
EXAMINER: Is your full name, Eugene Victor Tooms?
EUGENE TOOMS: Yes.
EXAMINER: Are you a resident of the state of Maryland?
EUGENE TOOMS: Yes.
EXAMINER: Are you an employee of the Baltimore Municipal Animal
Control?
EUGENE TOOMS: Yes.
EXAMINER: Is it your intent to lie to me about anything here today?
EUGENE TOOMS: No.
EXAMINER: Were you ever enrolled in college?
(We see that the test is being watched from another room through a
two-way mirror)
EUGENE TOOMS: Yes.
EXAMINER: Were you ever enrolled in medical school?
EUGENE TOOMS: No.
(Watching the test are Agents Mulder, Scully, Colton, Det. Johnson
and a guard)
EXAMINER: Have you ever removed a liver from a human being?
EUGENE TOOMS: No.
EXAMINER: Have you ever killed a living creature?
EUGENE TOOMS: Yes.
EXAMINER: Have you ever killed a human being?
EUGENE TOOMS: No.
EXAMINER: Were you ever in George Usher's office?
EUGENE TOOMS: No.
EXAMINER: Did you kill George Usher?
EUGENE TOOMS: No.
EXAMINER: Are you over one hundred years old?
TOM COLTON: That must be a control question.
MULDER: I had her ask it.
EUGENE TOOMS: No.
EXAMINER: Have you ever been to Palhatton Mill?
EUGENE TOOMS: Yes.
EXAMINER: In 1933?
EUGENE TOOMS: No.
EXAMINER: Are you afraid you might fail this test?
EUGENE TOOMS: Well, yes, because I didn't do anything.
(The test is over and now the examiner and the agents are discussing
the results in the test room)
EXAMINER: He nailed it, A plus, as far as I'm concerned,
the subject did not kill those two people.
(Mulder gets up and checks the results himself.
Det. Johnson comes in)
DET. JOHNSON: Maintenance people at the office building confirm
the call to animal control regarding a bad smell. They found a dead
cat in the ventilation ducts on the second floor.
TOM COLTON: Well, that's that.
SCULLY: It still doesn't explain what he was doing there that late at night.
DET. JOHNSON: So, he's one of the few civil servants we have with
initiative, and we busted him for it.
SCULLY: He was crawling up an air duct, by himself, without alerting
security.
TOM COLTON: Dana, he passed the test, his story checks out, he's
not the guy. It doesn't mean that your profile's incorrect.
MULDER: Scully's right, it is the guy.
DET. JOHNSON: Whatta you got, Mulder?
MULDER: He lived on questions eleven and thirteen, his electrodermal
and cardiographic response nearly go off the chart.
DET. JOHNSON: Is number eleven the hundred year old question?
Well, let me tell ye, I had a reaction to that stupid question.
And what the hell is this Palhatton Mill thing.
MULDER: Two murders with matching mo's occurred in Palhatton Mill
in 1933, just look at the chart.
EXAMINER: My interpretation of those reactions..
DET. JOHNSON: I don't need you or that machine, telling me if Tooms
was alive in `33.
MULDER: He's the guy.
DET. JOHNSON: I'm letting him go.
(Det. Johnson and the examiner leave the room, Tom turns to Scully)
TOM COLTON: You comin'?
SCULLY: Tom, I wanna thank you for letting me put in some time with
the VCS, but I am officially assigned to the X-files.
TOM COLTON: I'll see what I can do about that.
SCULLY: Tom, I can look out for myself.
TOM COLTON: You said Mulder was out there, that guy's insane.
(Tom leaves and Scully turns to look at Mulder)
(Mulder and Scully are walking through an office floor of the bureau)
SCULLY: You knew they wouldn't believe you, why did you push it?
MULDER: Maybe I thought you caught the right guy. And maybe I run
into so many people, who are hostile, just because they can't open
their minds to the possibilties, that sometimes the need to mess with
their heads, outweighs the millstone of humiliation.
(They stop at the bottom of some stairs)
SCULLY: It seems like you were acting very territorial, I don't know,
forget it.
(Scully goes to turn away but Mulder stops her, he is touching
Scully's necklace)
MULDER: Of course I was. In our investigations, you may not always
agree with me but at least you respect the journey. And if you wanna
continue working with them, I won't hold it against ye.
(Mulder starts up the stairs and after a brief pause, Scully follows)
SCULLY: Er, I don't know, you must have something more than your
polygraph interpretation to backup this bizarre theory and I have to see
what it is.
<- METROPOLITAN POLICE DEPARTMENT ->
(Mulder is looking at the arrest record of Eugene Tooms on computer)
MULDER: These are Eugene Tooms' prints. (Mulder isolates the left
middle finger print and discards the rest, for a fingerprint anaylsis)
This is the fingerprint they took from Usher's office, (Mulder brings
up one of the elongated fingerprints) it matches the old ones from the
X-files. Obviously no match, but what if, somehow... (Mulder
squashes Tooms' print sideways, then stretches it lengthways.
Next he overlaps the two prints on screen, a readout shows a
match of one hundred percent)
SCULLY: How could that be?
MULDER: Only thing I know for certain is, they let him go.
(It is a dark night and a car pulls into a driveway, as it gets closer to the
house, a motion sensor light comes on. We see a pair of eyes watching
from the bushes. As the man gets out of the car and walks around it,
all color, again, fades to black and white except for the man)
(Eugene Tooms jogs from the bushes to the side of the house and looks
in a window. The man enters the room, and Tooms backs off as the man
gets closer to the window. Tooms then runs to another part of the house
and looks up, he starts climbing the wall. Inside the house, the man
checks through some envelopes and takes off his jacket. Tooms has
made it up the wall and pulls himself onto the roof beside the chimney
stack, which he enters by stretching his body to fit)
(The man walking from the kitchen, with a drink in his hand, enters
the living room and stands by the mantel drinking his drink. The man
puts his drink on the mantel and straightens a small glass container.
He bends down and opens the doors to the fire, he then strikes a
long match and tries to light some paper in the fire. From the shadows
of the room, emerges Tooms. As the man turns around, Tooms jumps
on him and pushes him onto the floor. The man is kicking, trying to get
up, but loses the struggle)
(It is daytime and a man is stretching a measuring tape across the
murdered man's living room)
FULLER: Sixty-four inches from the south wall.
TOM COLTON: Let's run a check on liver transplants in the next
twenty-four hours, maybe this thing is black market.
FULLER: C'mon, it was ripped outta there.
TOM COLTON: Look at this point, I'm willing to give any theory a shot.
(He sees Mulder and Scully enter the house) Any sane theory, I'm sorry,
Dana, but I only want qualified members of the investigating team at the
crime scene.
MULDER: What's the matter, Colton, you worried I'm gonna solve your
case?
(Mulder goes to walk further into the house but Colton stops him)
SCULLY: Tom. We have authorized access to this crime scene.
A report of you obstructing another officer's investigation might stick
out on your personnel file.
(Tom lets Mulder enter)
TOM COLTON: Look, Dana, whose side are you on?
SCULLY: The victim's.
FULLER: A hundred and five inches from the fireplace.
(Mulder looks at a single elongated fingerprint that has been dusted on
the front of the mantel)
SCULLY: The victim is a Thomas Werner, single, white..
MULDER: It's Tooms. (Mulder points to the fingerprint, and also
notices four small prints, like the tips of fingers on top of the mantel)
And he took something.
(Mulder is looking through a microfiche reader of a county census from
1903, and finds the name, Eugene Victor Tooms. Scully enters the room)
SCULLY: Baltimore PD checked out Tooms' apartment, it was a cover.
No one has ever lived there and he hasn't shown up for work since he
was arrested.
MULDER: I found him. How do we learn about the present?
We look to the past. I think this is where it all began in 1903 on Exeter
Street. (Mulder points to the address of Tooms on screen) Now look
at the address of that first murder in 1903. (Scully lifts up the file on
this case)
SCULLY: Apartment 2 0 3. He killed the guy above him.
MULDER: Maybe his neighbour played the Victrola too loud.
SCULLY: Well, this must be Tooms' great grandfather.
MULDER: What about the prints?
SCULLY: Genetics might explain the patterns, it also might explain the
sociopathic attitudes and behaviours. It begins with one family member,
who raises an offspring, who raises the next child.
MULDER: So what is this, the Anti-Waltons?
SCULLY: Well, what do you think?
MULDER: I think what we have to do is track Eugene Tooms, there's
four down and one to go this year. If we don't get him right now, the
next chance is in year.....
SCULLY: 2023.
MULDER: And you're gonna be head of the bureau by then. So I think
you have to go through the census, I'm gonna plough through this
century's marriage, birth, death certificates, and... You have any
dramamine on you by any chance cos, these things make me seasick.
(Mulder and Scully go through the information for hours)
MULDER: Anything?
SCULLY: Nope, he disappeared off the face of the earth. You?
MULDER: Never was born, never married, never died.
SCULLY: At least in Baltimore County. No, I did find one thing though,
erm, it's the current address of the investigating officer at the Palhatton
Mill murders in 1933.
<- LYNNE ACRES RETIREMENT HOME. BALTIMORE, MARYLAND ->
(Sitting in front of Mulder and Scully is an old man in a wheelchair)
FRANK BRIGGS: I've waited twenty-five years for you.
SCULLY: Sir?
FRANK BRIGGS: I called it quits, in 1968 after, fourty-five years as
a cop. And those killings at Palhatton Mill. I was a sheriif then and,
er, I'd seen my share of murders, bloody ones. But I could go home
and pitch a few baseballs to my kid and never give it a second thought,
you gotta be able to do that. You'd go crazy, right. But those murders
in Palhatton Mill, when I walked into that room, my heart, went cold,
my hands, numbed. I could feel, IT.
MULDER: Feel what, Frank?
FRANK BRIGGS: When I first heard about the death camps in 1945, I
remembered Palhatton Mill. When I see the Kurds and the Bosnians,
that room is there, I tell ye. It's like all the horrible acts that humans
are capable of, somehow, gave birth to some kind of, human monster.
That's why I say I've been waiting for you. Aah, there's a box in the trunk
here, get it for me, would you please. (Mulder lifts a box out of the
trunk and puts it on the bed, Frank wheels himself to it) Now this,
is all the evidence I've collected, officially and unofficially.
SCULLY: Unofficially?
FRANK BRIGGS: I knew the murders in `63 were by the same person
as in `33. But by then, they had me on a desk, pushing papers and
they wouldn't let me anywhere near the case.
(Scully lifts a jar out of the box and looks in it)
SCULLY: A piece of the removed liver?
FRANK BRIGGS: Yes, but you know, that's not the only trophy he took
with him. Family members reported small personal effects missing in
each case. A hairbrush in the Walters murder, a coffee mug in the
Taylor murder.
MULDER: Have you ever heard the name, Eugene Victor Tooms?
FRANK BRIGGS: Humh, when they wouldn't bring me aboard in `63,
I, I did some of my own work. I took, these surveillance pictures, this,
is Tooms. (Frank shows some photos to Mulder and Scully) 'Course,
that was him thirty years ago. (Frank takes out another photo and
shows it to Mulder) And this, is the apartment where he lived.
It was located at..
MULDER: 66 Exeter Street?
FRANK BRIGGS: Right. That's it, right there.
(We see the photo of where Tooms lived.
The photo changes to reality as Mulder and Scully go there)
(Mulder and Scully pull up to 66 Exeter Street in their car,
they enter the building, it is a run down empty building)
SCULLY: Here's 1 0 3.
(They enter the room)
MULDER: The old man was right, you can feel it.
SCULLY: There's nothing here.
MULDER: Check this out.
(Mulder pushes down a mattress that is standing against the wall.
Behind it is a large hole in the wall)
What's down here?
SCULLY: I don't know.
(Scully puts her gun away and enters the hole)
Let's find out.
(Scully climbs down a ladder, followed by Mulder and they shine their
torches into the darkness)
Just an old coal cellar.
(As they look further in the cellar, they come across a table full of objects)
MULDER: Somebody having a garage sale.
(Mulder picks up a small glass container)
This is the shape of Werner's mantel.
SCULLY: Frank said he collected trophies.
MULDER: Does he live in here?
SCULLY: It looks like the wall's deteriorating.
MULDER: No, somebody made it. (Mulder and Scully make their way
to part of the room where a wall looks like it's crumbling)
This is a nest, look, it's made out of rags and newspapers.
SCULLY: This looks like the opening, think there's anything inside?
(Mulder feels the opening and gets a slimy substance on his hand)
Oh my God, Mulder, it's smells like, I think it's bile.
MULDER: Is there any way I can get it off my fingers quickly without
betraying my cool exterior?
(Mulder quickly flicks the stuff of his fingers)
SCULLY: No one could live in this.
MULDER: I don't think it's where he lives, I think it's where he hibernates.
SCULLY: Hibernates?
MULDER: Just listen, what if some genetic mutation could allow a man
to awaken every thirty years.
SCULLY: Mulder....
MULDER: And what if the five livers could provide him sustenance for that
period. What if Tooms is some kind of, twentieth century, genetic mutant.
SCULLY: In any case, he's not here now and he's gotta come back.
MULDER: Well, we're gonna need a surveillance team.
SCULLY: Yeah, that'll take some fannagling.
MULDER: Well you go down town and see what you can fannagle,
I'll keep watch.
(Mulder and Scully get up and walk back towards the opening of the cellar.
Scully stops suddenly)
SCULLY: Oh, wait, I'm snagged on something, oh, it's ok, I got it.
(As Scully continues forward, a hand appears from within the rafters and
opening its hand we see Scully's necklace dangling from it. We then see
Tooms in the rafters)
<- 66 EXETER ST., 11:30 A.M. ->
(Mulder is sitting in his car when one of the back doors open and another
agent gets in. Another one gets in the front)
MULDER: It's about time.
KENNEDY: So, who're we looking for again?
MULDER: Eugene Tooms, he's unarmed but consider him dangerous.
Scully and I'll be back to relieve you in eight hours if he doesn't show,
right here.
KRAMER: You got it, Spooky.
(Mulder gets out of the car as the two agents are laughing)
(Scully is sitting in a room at the bureau. Tom comes in)
TOM COLTON: We have to talk.
SCULLY: I have to meet Mulder..
TOM COLTON: That's what we have to talk about. You're using two of
my men to sit in front of a building that's been condemned for ten years?
SCULLY: It isn't in any way interferring with your investigation.
TOM COLTON: When we first had lunch, I really looked forward to working
with you, you were a good agent, but now after Mulder, I couldn't have
you far enough away. Don't bother going down there, I had the stakeout
called off.
SCULLY: You can't do that.
TOM COLTON: No, I can't but my regional asat can, especially after I
told them about the irresponsible waste in man hours. (Scully picks
up the phone but before she can phone Mulder, Tom takes the phone
off her) Auh-uh! Let me call Mulder, let me tell him the news.
SCULLY: Is this what it takes to climb the ladder, Colton?
TOM COLTON: All the way to the top.
SCULLY: Then I can't wait `til you fall off and land on your ass.
(Tom phones Mulder)
MULDER'S ANSWER MACHINE: This is Fox Mulder, I'm not here,
leave a message.
(Scully pulls up outside her apartment. From the darkness we can see
the eyes of Tooms, watching. Scully walks from her car to her apartment
block and Tooms sees it all in black and white)
<- 66 EXETER ST., 7:25 P.M. ->
(Mulder pulls up in his car)
MULDER: Where is everyone? Scully?
(Mulder has a quick look around and then runs and enters the building)
(Back at Scully's apartment)
MULDER'S ANSWER MACHINE: This is Fox Mulder, I'm not here,
leave a message.
SCULLY: Mulder, you must've gone out since Colton gave us the night
off, I say we file a complaint against him, I am furious. Call me when
you get in, ok, bye.
(Scully is in her bathroom, after hanging up, she runs a bath. Scully
walks out of the bathroom and outside the window we see Tooms reach
up and feel the window)
(Meanwhile, Mulder is in the cellar below Tooms' apartment. As he
looks at the table with the trophies, from the murders, he sees and
recognises Scully's necklace)
MULDER: Dammit.
(Scully is back in her bathroom, she lifts a towel off the rack and goes
over to the bath and turns off the taps. She lifts a small bottle from a
shelf, she moves to the side of the bath to open it. As she opens it,
a lump of bile falls from the ceiling and splashes on her hand. She
breathes deeply, in shock, and then looks up at the vent in the ceiling,
there is bile around one corner of it. Scully rushes out of the bathroom
and looks for her gun in the apartment)
(Mulder is driving his car and using his phone)
MULDER: Dammit, ANSWER.
(We see that the phone line to Scully's apartment have been cut)
(Scully is moving about her apartment, with her gun, searching for
Tooms. She enters a room and turns, pointing her gun at a small
vent near the floor. As Scully turns awat from the vent, a hand comes
crashing through and grabs Scully's leg causing her to fall. We see
the face of Tooms in the vent as well. Scully manages to grab hold
of a door frame and pull herself from Tooms' grasp)
(Mulder pulls up outside Scully's apartment block)
(Tooms forces himself out through the vent and Scully, on the floor,
backs off into the bathroom. Tooms gets up and follows her in and sits
on her. Scully tries to hit Tooms but he blocks it, but she punches
him with her other hand)
(Mulder races into the building)
(Scully pushes her thumbs into the eyes of Tooms, but he grabs
her arms and pushes them to the floor above her head, exposing
her stomach)
(Mulder breaks open Scully's door, and rushes in)
MULDER: SCULLY!
(Tooms, hearing Mulder, gets off Scully and breaks the bathroom window.
Mulder comes into the bathroom and points his gun at Tooms. Scully
gets up and grabs Tooms before he can get out the window, but Tooms
grabs Scully by the throat and tries to choke her. As he does this,
Mulder puts handcuffs on one of Tooms' wrists. Tooms elbows Mulder,
knocking him to the ground, and turns to advance on him. Scully grabs
the handcuffs, stopping him from getting closer to Mulder and then
pulls the handcuffs to the bath taps. Scully feeds the handcuffs
through the taps, Tooms tries to stop her, but Scully grabs his other
hand and fastens it in the other handcuff. Mulder gets up and points
his gun at Tooms, who is tugging at the handcuffs)
MULDER: You alright? (Scully is leaning against the wall, breathing heavily.
She manages a nod of the head) He's not gonna get his quota this year.
(Tooms stops pulling at the handcuffs and accepts defeat)
<- LYNNE ACRES RETIREMENT HOME. BALTIMORE, MARYLAND ->
(Frank is reading an article, on the front page of a newspaper, about
"the consequences of ethnic cleansing". Shaking his head he opens
the newspaper and notices a small article about Eugene Tooms at
the bottom of the page)
(We see the article of Tooms again, only this time it is being ripped.
As the torn piece of paper is lifted up, we see it is Tooms who has ripped it.
He licks the torn piece of paper a couple of times and crumples it up and
throws it against a wall. The wall has alot of paper either already stuck to
it or lying on the ground)
(Mulder is watching Tooms from outside his cell. Scully comes walking
around a corner and down the corridor. She looks through the window
into Tooms' cell. He is still licking paper)
MULDER: Look at him, he's building another nest.
SCULLY: You'll be interested to know that I've ordered some genetic
tests. The preliminary medical exam revealed (Tooms has stopped
what he was doing and is now looking at Mulder watching him) quite
abnormal development in the muscular and skeletal systems. As well
as a (Tooms, stops looking at Mulder and continues with his nest)
continual declining metabolic rate, it dips way below the levels registered
in deep sleep. Did you hear what I said, Mulder?
MULDER: All these people putting bars on their windows, spending good
money on hi-tech security systems, trying to feel safe. I look at this guy
and I think, (We see Tooms, licking more paper, through the window)
it ain't enough.
(Scully turns to Mulder and they both walk off down the corridor.
As they go around the corner, a guard opens a door, at the end of
the corridor, for an orderly, who is carrying a meal on a tray.
The orderly walks to the door to Tooms cell. Tooms, who is still
licking paper, turns his head to the door when he hears a lock opening.
A small opening in the door appears and the orderly slides the tray
through, then locks the outside flap and walks away)
(Sometime later)
(Tooms is sitting on his bed staring at the small opening in the door,
where the food tray was placed earlier. The camera switches between
Tooms and the opening in the door, and zooming in on both in turn.
As the camera gets closer to Tooms' face, a smile appears across his
face as he studies the opening in the door)
STARRING
DAVID DUCHOVNY Agent Fox Mulder
GILLIAN ANDERSON Agent Dana Scully
Guest Starring
DOUG HUTCHISON Eugene Victor Tooms
DONAL LOGUE Agent Tom Colton
HENRY BECKMAN Detective Frank Briggs
Co-Starring
KEVIN McNULTY Fuller
TERENCE KELLY Usher
COLLEEN WINTON Examiner
Featuring
JAMES BELL Det. Johnson
GARY HETHERINGTON Kennedy
ROB MORTON Kramer
PAUL JOYCE Mr. Werner
CREATED BY
CHRIS CARTER
Line Producer
JOSEPH PATRICK FINN
Supervising Producers
HOWARD GORDON & ALEX GANSA
Co-Executive Producers
JAMES WONG & GLEN MORGAN
Co-Executive Producer
R. W. GOODWIN
Written by
GLEN MORGAN & JAMES WONG
Directed by
HENRY LONGSTREET
EXECUTIVE PRODUCER
CHRIS CARTER
Co-Producer
PAUL RABWIN
Casting by
RICK MILLIKAN, C.S.A.
Vancouver Casting by
LYNNE CARROW, C. S. A.
Original Casting by
RANDY STONE, C. S. A.
Music by
MARK SNOW
Director of Photography
JOHN S. BARTLEY, C.S.C.
Art Director
MICHAEL NEMIRSKY
Editor
HEATHER MacDOUGALL
Production Manager
J. P. FINN
First Assistant Director
TOM BRAIDWOOD
Second Assistant Director
COLLIN LEADLEY
Set Director SHIRLEY INGET
Asst. Art Director CLYDE KLOTZ
Script Supervisor WENDY McLEAN
Costume Designer LARRY WELLS
Costume Supervisor JENNI GULLETT
Property Master KEN HAWRYLIW
Transportation Coordinator BOB BOWE
Hair Stylist MALCOLM MARSDEN
Make-up FERN LEVIN
Location Manager LOUISA GRADNITZER
Camera Operator ROD PRIDY
Focus Fuller MARTY McINALLY
Production Coordinator ROBERTA SHEEHY
Asst. Prod. Coordinator ANITA TRUELOVE
Chief Lighting Technician DAVID TICKELL
Key Grip AL CAMPBELL
Special Effects DAVID GAUTHIER
Visual Effects Producer MAT BECK
Sound Mixer MICHAEL WILLIAMSON
Stunt Coordinator KEN KIRZINGER
Assistant Editor SHANNON LEIGH OLDS
Main Title Sequence by
CASTLE/BRYANT/JOHNSEN
Processing by
GASTOWN FILM LABS
Telecine by
GASTOWN POST AND TRANSFER
Electronic Assembly by
ENCORE VIDEO
Post Production Sound by
WEST PRODUCTIONS INC.
Supervising Sound Editor THIERRY COUTURIER
Music Editor JEFF CHARBONNEAU
Filmed on location in British Columbia, Canada
This production has not been approved, endorsed or
authorized by the Federal Bureau of Investigation.
Copyright (c) 1993
Twentieth Century Fox Film Corporation
Twentieth Century Fox Film Corporation is the author of
this motion picture for purpose of copyright and other laws.
The characters and events depicted in this photoplay are
fictitious. Any similarity to actual persons, living or dead
is purely coincidental.
Ownership of this motion picture is protected by copyright
and other applicable laws, and any unauthorized duplication,
distribution or exhibition of this motion picture could result in
criminal prosecution as well as civil liability.
All Rights Reserved Canadian
#1X02 Local 891
These scripts were typed up by Mark Rooney, who found out that he
had too much free time on his hands.
This by no means is meant to infringe on any copyrights held by Chris
Carter, Ten Thirteen Productions, or 20th Century Fox Television.
Agents may download and redistribute the script in its entirety with the
copyright notice intact, for personal enjoyment. It must not be
reproduced for payment. Any other use of this information is prohibited.
Any comments or compliments/complaints can be sent to me at:
FidoNet: 2:443/42
E-mail: mark.rooney@street.nemesis.co.uk
Agent Mark Rooney
Enjoy!