a Story No. £01612 Episode #9ACK14 “Apostate” Written by James Jordan White Full Blue Pages 3-4, 12-14, 26-28, 30, 33, 46-51, 53, 55 Pink Pages 25, 35-37, 3% 41, 43, 45, 50-55 Green Pages 6, 7, 10-12 Yellow Pages 10, 12, 16-19, 22, 27, 41-42 = Gold Pages 38-40, 46, 48 Salmon Pages 55-57 9 Final Copyright 2002 © Twentieth Century Fox Fim Corporation ~All Rights Reserved 12/22/01 01/09/02 01/14/02 01/16/02 01/19/02 01/24/02 01/26/02 01/26/02 This scripts not the sole property of Twentieth Century Fax Fim Corporation and may nat be photocopied, reproduced, or soldCAST LIST Agent Dana Scully Agent John Doggett Agent Monica Reyes A.D. Walter Skinner A.D. Brad Follmer Sister Anne Sister Mary Mother Judy Agent Joe Farah Sister Grace Acolytes (non-speaking) FBI HRT Marksmen (non-speaking) EMTs (non-speaking) Salmon - January 26, 2002SET LIST INTERIORS: FARMHOUSE, /BUNK ROOM (SISTER ANNE'S ROOM) /COMMUNTON HALL /DINING HALL /MONICA'S ROOM / HALLWAY FBI COMMAND CENTER /CORRIDOR Quantico /AUTOPSY BAY /SCULLY'S OFFICE BARN EXTERIORS: RURAL COMPOUND /BARMHOUSE /BARN / PADDOCK /TREELINE REMOTE RURAL ROAD ONE-HORSE TOWN RYE FIELD woops /TACTICAL STAGING AREA Salmon - January 26, 2002TEASER FADE IN: EXT. RURAL COMPOUND - NIGHT A WAXING MOON hangs over a dilapidated old farm. Rain falls in sheets onto the rusty, corrugated iron roof of a barn. A paddock full of GOATS. A few stone out-buildings. The middle of nowhere. Or as a LEGEND tells us: BANNOCK COUNTY, IDAHO. As we slowly PUSH IN towards an isolated FARMHOUSE, the faint amber glow of CANDLELIGHT flickers behind a distant window. INT. FARMHOUSE - BUNK ROOM - NIGHT TRACKING WITH a short CANDLE in an antique brass chamberstick as it’s carried across by a YOUNG WOMAN in plain white garments. She is hurried and anxious. Call her SISTER ANNE (early 20s). As the candlelight trembles, we see we’re in a tiny box room with two single beds up against either wall. Not unlike a college dorm. It’s sparse and cold. Impersonal. Sister Anne approaching: SISTER MARY Another young woman in matching white garments. But she’s less timid, more resolute. Urgently packing an old wooden suitcase. A distinctive turquoise MOOD RING asserts her individuality. SISTER ANNE Sister Mary ~ you must stop - SISTER MARY I'm getting out of here. SISTER ANNE They'll hear you. SISTER MARY We're free to leave at any time, aren't we? Sister Anne glances back at the door nervously. Her voice is a hushed whisper, like that of a child sneaking out of the house. SISTER ANNE Don’t you want the enlightenment? The Shepherd will show us -— CONTINUEDTHE X-FILES gacx14 "Apostate" (FINAL) 01/26/02 2. 2 CONTINUED: SISTER MARY The Shepherd is a crock! Sister Anne looks aghast at such heresy. SISTER MARY Have you ever even seen him? Has anybody? SISTER ANNE You're just tired. You'll feel differently in the morning. Sister Mary shakes her head and fastens up her suitcase. SISTER ANNE (tearful) Please. Don’t go. SISTER MARY Come with me. Mary grabs Anne’s shoulder and stares deep into her eyes with a desperate plea. But Anne trembles and backs away. Terrified. SISTER MARY Take care of yourself, Annie. Sister Mary hefts up the old sash window, grabs up her suitcase and climbs out into the night. Leaving Sister Anne distraught. 3. EXT. RURAL COMPOUND - NIGHT Sister Mary hurries across the pasture land. Rain lashing onto her plain garments. Her feet SPLOOSHING across the muddy field. She glances back over her shoulder to the dark farmhouse. HER POV - FARMHOUSE As the flickering candlelight plays across Sister Anne watching from the window until it abruptly WINKS OUT. SISTER MARY Hesitates a beat. Then marches onward. Quickens her pace. Reaches a BARBED WIRE FENCE. It circumscribes the perimeter of the farm. Sister Mary flattens the wire with her suitcase and uses it as a platform to climb over. Her garments RIP on the wire as she goes.THE X-FILES 9ACKLA “Apostate” (FINAL) 01/26/02 3. EXT. REMOTE RURAL ROAD ~ NIGHT A single lane of narrow old asphalt. No tarmac. No markings. It seems to stretch to infinity in either direction. Sister Mary hustles up the road, forcing herself to keep a brisk pace even as she becomes breathless. Only slowing when. HEADLIGHTS APPEAR AT HER BACK Along with the rumbling of a struggling old DIESEL ENGINE. Sister Mary stops and turns into the light to find: HER POV - A BATTERED OLD PICK-UP TRUCK Rolling up towards her. Not at any great speed. Just its lights cutting through the darkness, coming inexorably closer. SISTER MARY Shields her eyes against the glare as the truck comes to a rest right in front of her. Her face falls in anticipatory dread. WIDER The truck idles ominously for a beat, its engine GROWLING. Then the passenger side door opens and a HEAVYSET WOMAN emerges. We will come to know her as MOTHER JUDY (50s). MOTHER JUDY Sister Mary. She stares through the rain. Firm and forbidding. Wearing the same white linen garments. And she’s soon joined by a half dozen IDENTICALLY-DRESSED WOMEN from the bed of the pick-up. Sister Mary drops her suitcase at her feet and starts RUNNING UP THE ROAD in the opposite direction. Running for her life now. THE PICK-UP TRUCK REVS its engine ominously, then SPEEDS UP TOWARD SISTER MARY. CAMERA LEADING HER in a short, frantic chase until the truck closes in from b.g. and CLIPS MARY just enough to send her down. Sister Mary face-plants onto the asphalt hard. She's hurt, but only superficially. Rolling over, she squints up into HEADLIGHTS. HER POV - LOW ANGLE ON MOTHER JUDY As she steps in and eclipses the headlights. Looming down over Sister Mary, as if in judgement. Then joined by the others. CONTINUEDTHE X-FILES 9ACKI4 "apostate" (FINAL) 01/26/02 a 4 CONTINUED: MOTHER JUDY Your faith has forsaken you. You should have come to me, child. We are your sisters. Your family. d She turns to the others as a MASON JAR is passed up from hand to hand. As the tight-fitting lid is unclasped, it reveals... ++. a jarful of crawling SCARAB BEETLES. Oily and hideous, they take on a strange GOLDEN PHOSPHORESCENCE against the headlights. MOTHER JUDY Receive his grace... and be enlightened. The other women suddenly stoop down to RESTRAIN Mary by the arms. Despite her injuries, she struggles frantically in their grip. SISTER MARY No... DON’T! ~ Mother Judy reaches into the mason jar and plucks out one of the golden scarab beetles, about the size of a golf ball... ++. and she stoops down over Sister Mary as if to FORCE FEED IT TO HER. Mary struggles and resists, turning her face away... ++ but the others PIN HER DOWN and grab at her nose until she’s d forced to open her mouth and GASP FOR AIR. They hold her jaw... +++ and the scarab beetle CRAWLS INTO HER MOUTH. Making its way down Mary’s throat as the others clamp her jaw shut. Mary SPASMS and CONVULSES as if having some kind of seizure. Then her eyes slowly turn BLOODSHOT, clouding with forks of crimson. CRANING UP from Sister Mary as the group CLOSE IN and gather around her, their huddled mass of linen garments obscuring her body as they become an eerie pale shroud under the night sky. Off this tableau: GO TO MAIN TITLES END_OF TEASER‘THE X-FILES gacK14 "Apostate" (FINAL) 01/26/02 ACT_ONE FADE IN: ON THE DIALS AND KNOBS OF AN OLD HAM RADIO As it crackles with STATIC, A headset is connected by a long, coiled wire and fitted over a pair of ears. We are: INT. FARMHOUSE - COMMUNION HALL ~ DAY Where Mother Judy wears the headset. She stands before a humble congregation - ALL WOMEN - all wearing identical white linen garments complete with Puritan style Dutch coif. MOTHER JUDY The Shepherd welcomes you to worship. She smiles warmly. A beat as she seems to listen to words being relayed over her headset. She speaks haltingly in this manner. MOTHER JUDY His message today... is one of humility... that we are all humble in his eyes... as we anxiously await the dawn of the New Age... ARMING AROUND as she preaches, we reveal a GLASS PANEL behind her which is completely covered by a RED CURTAIN from the other side. MOTHER JUDY «++ and that by continuing to humble ourselves... we shall ultimately be led to enlightenment +++ through his infinite wisdom. Mother Judy lifts off her headset and looks across her audience. MOTHER JUDY We believe in The Shepherd... TRACKING ALONG the assembled group of women as they echo this recitation in practiced unison. GROUP We believe in The Shepherd. MOTHER JUDY +++ We trust in The Shepherd... CAMERA PASSING Sister Anne looking meek, yet reciting devoutly: CONTINUEDTHE X-FILES gacK14 "Apostate" (FINAL) 01/26/02 6 5 CONTINUED: (2) SISTER ANNE/GROUP We trust in The Shepherd. MOTHER JUDY +++ and through his grace, we shall be enlightened. CONTINUE TRACKING until we find MONICA REYES sitting among them. Wearing the exact same white linen garments and Puritan cap. MONICA REYES/GROUP And through his grace, we shall be enlightened. Off the inexplicable sight of our very own Monica Reyes willingly joining along with the congregation’s mantras: cur TO: INT. FARMHOUSE - DINING HALL - DAY A weak SOUP is ladled into a porcelain bowl. Reyes stands in line before a kitchen counter. She takes her bowl and finds a seat at a long wooden table among the other Puritan-esque women. There is not much chatter here. It’s muted and sombre, with all the ambience of a nunnery. Reyes glances around as she eats... and her eye finds Mother Judy at the head of the table as she is approached by Sister Anne, summoning the courage to speak. SISTER ANNE +++ Mother Judy? MOTHER JUDY Take your seat, Sister Anne. SISTER ANNE I was just wondering... (swallows, nervous) +++ Iwas wondering if it might be possible that I might... request an audience. With The Shepherd. Several ACOLYTES glance at each other and up to Sister Anne. There’s clearly something transgressive about this request. MOTHER JUDY (with reproach) This is not an appropriate discussion for the supper table. CONTINUED‘THE X-FILES SACK14 "Apostate" (FINAL) 01/26/02 7 6 CONTINUED: Mother Judy returns to her soup. Admonished, Sister Anne turns away. But something makes her turn back, however nervously. SISTER ANNE It’s just... I’ve been having what you might call a crisis of faith? Ever since Sister Mary - MOTHER JUDY Enough! Mother Judy pushes up from the table with a start. Enough to make the room fall silent and for every Acolyte to lower their eyes. REYES Glances up the table, her own eyes darting between her soup bowl and the outburst from Mother Judy as: SISTER ANNE Trembles under Mother Judy's intimidating glare. MOTHER JUDY You are forbidden to speak of such things. Perhaps a period of silent reflection will allow you to make atonement for your transgressions. Sister Anne opens her mouth to object but quickly catches herself. She gives a reluctant, solemn nod of obedience. Then scurries out in shame, passing: REYES Who turns and watches her go, feeling for her. Wanting to go after her and offer comfort. But turning back as Mother Judy retakes her seat at the table. Catching her stern eye briefly. Weighing her next move carefully, Reyes picks up her spoon and resumes eating her soup along with the other Acolytes. INT. FARMHOUSE - SISTER ANNE’S ROOM - LATER Sister Anne perches on the edge of her single bed, wiping tears from her eyes. The bed opposite has been stripped. Empty. A light KNOCK on the door prompts Sister Anne to compose herself before the door creaks open slowly to reveal... MONICA REYES Sister Anne? CONTINUEDTHE X-FILES 9ACK14 "apostate" (FINAL) 01/26/02 8. 7 CONTINUED: She looks up to see that Reyes carries a simple wooden tray, holding a porcelain bowl and spoon. MONICA REYES I noticed you didn't eat. can I come in? Sister Anne nods. Reyes enters and sets the tray on a dresser. MONICA REYES I don’t think Mother Judy noticed. She can be pretty strict, huh? Reyes offers a warm smile. Sister Anne barely meets her eyes. MONICA REYES How are you feeling? Sister Anne looks up and tilts her head with her lips sealed. MONICA REYES Right. sorry. (beat) Do you mind if I sit? Sister Anne shrugs. Reyes perches beside her on the bed. They both find themselves staring across at the stripped, empty bed. MONICA REYES Sister Mary was your room mate, right? Sister Anne’s sad smile is an affirmative. MONICA REYES So what happened to her? She just left? (off Anne’s silence) Come on, you can talk to me, can’t you? Mother Judy isn’t here. Sister Anne hesitates, then scurries across to the dresser and fumbles through the top drawer until she finds a PAD and PENCIL. She scrawls something and shows Reyes: "MISS HER” MONICA REYES The two of you must have been close. Sister Anne scrawls on the pad: “CAME HERE TOGETHER” CONTINUED‘THE X-FILES 9ACK14 “Apostate” (FINAL) 01/26/02 o. 7 CONTINUED: (2) MONICA REYES And she just left without you? Sister Anne’s eyes droop. She scribbles: “SHE TRIED.. MONICA REYES (confused) What do you mean? What happened to her? Sister Anne bites her fingernails. She turns away, reticent. Reyes gets up and joins her, places a hand on her shoulder. MONICA REYES Anne. Did somebody stop Sister Mary leaving? Do you know where she is? It’s okay to tell me. Sister Anne turns and locks eyes with Reyes. Feels her sincerity and support. Desperate to trust her. She grabs her pencil and starts drawing something more elaborate on her pad. Reyes watches curiously until she turns the pad around. Reyes studies what’s on it, her eyes darting left and right. CLOSE ON THE DRAWING Revealing a pencil sketch MAP of the compound and surrounding area. The connecting roads. And a thickly scored X in the corner. LOWERING THE MAP OUT OF FRAME leaves us resting on Sister Anne and her tearful eyes, communicating something shameful and grim. 8 EXT. RURAL COMPOUND - DAY Reyes steps out of the farmhouse, squinting slightly into the harsh daylight. She looks out to the surrounding fields... HER POV Goats being milked in the paddock. Apples being picked from the orchard. Freshly laundered sheets being pegged to a clothesline. An outwardly serene portrait of pastoral self-sufficiency. PANNING ACROSS this seemingly idyllic landscape until we rest on: ‘TELEGRAPH WIRES Running froma distant pole in a neighboring field all the way over to a small JUNCTION BOX just below the farmhouse roof. CONTINUED‘THE X-FILES 9ACKL4 "apostate" (PINAL) 01/26/02 10. 8 CONTINUED: RESUME REYES Registering this, then quickly covering her curiosity as she crosses toward the PICK-UP TRUCK from the Teaser where four ACOLYTES are being helped into the camp bed by Mother Judy. MONICA REYES Mother Judy. May I have a moment? Reyes waits deferentially for Mother Judy to approach. MOTHER JUDY Idle hands, Sister Monica? MONICA REYES Actually, that's what I wanted to talk to you about. I’m eager to contribute. I feel I could be doing more. MOTHER JUDY Your linen chores have become tedious, is that it? MONICA REYES Oh no, not at all. It’s just you've all been so kind. So welcoming. I'd like to give back. Mother Judy studies Reyes carefully, sizing her up. MOTHER JUDY After Sister Anne's little outburst, we’re one short for our weekly errands. She indicates the waiting pick-up truck. MONICA REYES I'm more than happy to volunteer. MOTHER JUDY You haven’t been with us long. Are you sure you're ready to step back into the world? MONICA REYES I defer to your judgement in all things, Mother Judy. Reyes bows her head in supplication rather than push too hard. This seems to be the right answer. CONTINUED‘THE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 ql. 8 10 CONTINUED: (2) 8 MOTHER JUDY Very well. Come. Join us. She gestures toward the truck. Reyes keeps her eyes low as she passes by and climbs into the camp bed. As Mother Judy watches her go with an inscrutable star: cur To: EXT. REMOTE RURAL ROAD / BACK OF PICK-UP TRUCK ~ MOVING - LATER 9 Rattling along the asphalt. Reyes sits in the camp bed beside another Acolyte, with two others facing her opposite. Mother Judy riding shotgun up front beside the driver. Reyes glances across to SISTER GRACE (30s). She stares back at her hard with a guarded suspicion. Not so friendly. EXT. ONE-HORSE TOWN - DAY 10 The truck pulls up on the corner of a quiet high street that hasn’t seen much development since the 1950s. A mini-mart, a bank, a post office and little else. Mother Judy emerges from the truck and helps her Acolytes down from the back. One pair heads toward the post office. Reyes and sister Grace are pointed toward the mini-mart. A few passing LOCALS turn and stare at these odd women and their garments. But they keep their heads down and keep walking. CAMERA LEADING REYES as she heads up the sidewalk toward a COIN- OPERATED NEWSRACK outside the mini-mart. MONICA REYES (to Sister Grace) I'll be right in. Sister Grace hesitates as Reyes fishes out some loose change, then heads into the mini-mart. Reyes checks she’s not being watched, then sneaks out A FOLDED PIECE OF PAPER. She feeds some coins into the newsrack, lifts out TWO NEWSPAPERS and tucks the folded note into the second paper and returns it to the newsrack: LONG LENS - BINOCULAR MATTE Where we're watching Reyes from a discreet distance down the street. CONTINUED‘THE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 12. 10 CONTINUED: 10 MAN'S VOICE (0.S.) She's making a drop. The binoculars track Reyes as she closes up the newsrack, glances d over her shoulder and heads off into the mini-mart. SHORT TIME CUT TO: 11 EXT, ONE-HORSE TOWN - STREET CORNER - DAY - LATER it Reyes and her fellow Acolytes load several brown paper GROCERY BAGS into the back of the pick-up truck. Mother Judy climbs into the passenger seat and the truck starts to drive away. PULLING BACK TO THE NEWSRACK as a man’s arm appears in close f.g. It reaches in and pulls out a newspaper, finding the little note tucked into the fold. Unfurling it to discover... +++ the crudely-sketched MAP given to Reyes by Sister Anne. ARMING AROUND TO REVEAL JOHN DOGGETT as he locks up off the map to watch the truck receding into the distance. Worry in his eyes. 12 INT. PBI COMMAND CENTER ~ DAY 12 - Double doors swing open and Agent Doggett comes marching in as a m LEGEND appears: BANNOCK COUNTY COURTHOUSE, POCATELLO, IDAHO. A large bullpen has been converted into a makeshift base of operations for various FBI AGENTS working phones and laptops. JOHN DOGGETT We got a break - Doggett makes a beeline for ASSISTANT DIRECTOR BRAD FOLLMER as he leafs through a file folder. JOHN DOSGETT Monica left this for us at the dead drop. Doggett unfolds the pencil sketch map and hands it to Follmer. A.D. BRAD FOLLMER (dubious) X marks the spot? JOHN DOGGETT Something we’re gonna want to check out. Maybe a body. CONTINUEDTHE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 13. 12 CONTINUED: 12 Follmer passes the map to AGENT JOE FARAH (established @ABX08). A.D. BRAD FOLLMER Let’s get copies of this distributed. I want to know where this is supposed to be leading. (back to Doggett) Nothing else? No message? JOHN DOGGETT I figure she would've given us more if it were safe to do so. Might be time to pull her outta there. A.D. BRAD FOLLMER Let’s wait and see what this turns up first, shall we? JOHN DOGGETT We don’t know these nutjobs aren't onto her already. A.D. BRAD FOLLMER Agent Reyes can handle herself. JOHN DOGGETT It's been over three weeks now. A.D. BRAD FOLLMER This was your idea. The two of you came to me with this plan to place her undercover - JOHN DOGGETT And I‘1l say now what I said then: it’s one stupid ass plan that’s only likely to get her killed. A.D. BRAD FOLLMER Mary Meghellan is still missing, presumed dead... Follmer moves over to a whiteboard where a high-school yearbook PHOTOGRAPH of the young woman we recognize as Sister Mary from the Teaser is taped. Notes in dry-erase marker surround it. A.D. BRAD FOLLMER +++ along with a half dozen other young women from the tri-state area. This commune - or cult - remains the only common thread. CONTINUEDTHE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 14. 12 CONTINUED: (2) 12 JOHN DOGGErT I’m not arguing. I’m saying it’s time we kick down their door and start taking names. A.D. BRAD FOLLMER Under what pretext, Agent Doggett? Doggett turns away with a recalcitrant sigh. He knows very well they have nothing to justify a search warrant. A.D. BRAD FOLLMER This is our first solid lead. Now we have to stay the course, and trust that Monica can do the same. Doggett grinds his jaw. Doesn’t like it any more than he likes taking orders from A.D. Follmer. AGENT FARAH Sir - 2 Follmer moves over to Agent Farah, sat behind a laptop showing SATELLITE TOPOGRAPHY of the county. Doggett follows. AGENT FARAH Looks like it points to an area of arable land about twelve kilometres south-east. Doggett picks up the sketch map, compares it to the screen. JOHN DOGGETT Assuming this here is the compound? And the scale on this is, what - ? AGENT FARAH It's a gquestimate at best. A.D. BRAD FOLLMER Any idea what we're supposed to find out there? Doggett studies the sketch map. Wondering the same thing. Curious yet hopeful... JOHN DOGGETT X marks the spot. cur To:‘THE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 1s. 13 EXT. RYE FIELD - DAY 13 A long line of FBI AGENTS in NAVY WINDBREAKERS comb through tall, golden stalks that sway in the breeze. Beating them back with sticks as they poke into the top soil. Searching. ARMING AROUND TO FIND DOGGETT AND FOLLMER a few paces behind the search line, wearing their own windbreakers. Tension in the air. A.D. BRAD FOLLMER We're losing the light. We could do this all night, Agent Doggett. JOHN DoscETT This has gotta be the place. A.D. BRAD FOLLMER Based on a badly scrawled map with no sense of scale. JOHN DOGGETT You think this is such a waste of time, let’s get a tac team together. Bust these wackos right now. A.D. BRAD FOLLMER I’m as concerned for Agent Reyes as you are. But I also respect her conviction to see this through. Doggett grinds his jaw as a SHOUT goes up from the search line: AGENT FARAH over here! Doggett and Follmer dart over to join a gathering crowd of Agents hunched over a patch of disturbed earth beneath the rye. THEIR POV - A HUMAN HAND Poking up through the dirt. Pale and dead. A distinctive turquoise MOOD RING on her finger we recognize from the Teaser. RESUME DOGGETT, FOLLMER Staring down with grim recognition. JOHN DOGGETT Mary Meghellan, I presume. CONTINUED‘THE X-FILES 9acx14 "Apostate" (FINAL) 01/26/02 16. 13 14 15 16 CONTINUED: 13 A.D. BRAD FOLLMER I need a full forensic excavation team out here immediately. Agent Farah nods and starts off, dialing his cell phone. JOHN DOGGETT I want the body shipped back to Quantico overnight. A.D. BRAD FOLLMER The field office in Boise are perfectly capable, Agent Doggett. JOHN DOGGETT There's only one person I trust to find out what really happened to this girl. Doggett turns his back and starts away from the scene, leaving Follmer to make an educated guess as to who that person is. EXT. RURAL COMPOUND - NIGHT 4 Darkness falls over the farmhouse. The waxing moon almost full. A LEGEND appears: 1:07 AM. INT. FARMHOUSE - MONICA’S ROOM - NIGHT. 15 Reyes lies still in the darkness. She winks an eye open and looks across the tiny room to: HER POV - SISTER GRACE Lying in the other bed against the opposite wall with her back to Reyes. Her room mate. Seemingly asleep. REYES Slowly sits up and swings her legs out of bed. Careful not to make a sound. She reaches for an unlit CANDLE in a brass chamberstick resting on the dresser beside her bed. INT. FARMHOUSE - HALLWAY - NIGHT 16 Reyes emerges from her bunk room and closes the door behind her very, very quietly. She fishes a CIGARETTE LIGHTER out of her garments and uses it to light her candle. The flame quivers delicately as she moves...THE X-FILES SACK14 "Apostate" (FINAL) 01/26/02 Vw. 17 18 1g INT. FARMHOUSE - COMMUNION HALL - NIGHT 17 Dark and empty until the faint amber glow of candlelight appears in the doorway. Reyes creeps in, edging her way toward: THE PLATE GLASS WINDOW Shrouded by the RED CURTAIN draped across the other side. Reyes catches her reflection in the glass by the light of her candle. A WOODEN DOOR Stands beside the window. Monica’s hand reaches down to turn the handle... +++ but it’s locked. Reyes jiggles the knob but it’s no use. Off Reyes, stymied and curious: cur To: EXT. RURAL COMPOUND - NIGHT 18 Reyes emerges from the farmhouse. She sneaks toward the barn, then quickly hugs her back to the wall. Blows out her candle. After a tense beat, Reyes peeks her head around the corner. HER POV - LONG LENS ON THE BARN Glowing with amber LANTERN LIGHT from within. Shadows play through the gaps of the wood panel siding. A hint of movement. Then Mother Judy emerges, flanked by Sister Grace carrying a KEROSENE LANTERN. They exchange a few words MOS before heading off together, leaving the barn in darkness. CLOSE ON REYES As she watches from a discreet distance, checks furtively over her shoulder, then creeps across to: INT. BARN - NIGHT 19 As the door creeks open and Reyes slides in, easing it closed behind her. Only the dull spill of moonlight to guide her. The pick-up truck is parked in the middle of the barn. A few rusting GAS CANS rest alongside. CONTINUEDTHE X-FILES SACKI4 "Apostate" (PINAL) 01/26/02 18. 19 CONTINUED: 19 Reyes feels her way to a short STACK OF CRATES. Their lids have already been pried open by a resting CROWBAR. Reyes slides aside one of them to reveal... +++ a cache of BOLT-ACTION SHOTGUNS and AK-47s packed in straw. Reyes replaces the lids carefully, then edges to the back of the barn where a large PANTRY DOOR is sealed by a wooden block. She removes the plank and swings open the double doors. But it’s too dark to make out what’s inside. Reyes digs out her lighter and uses it to give her candle a fresh flame. Raising it to her eye-level, the tremulous light reveal: A SHELF FULL OF MASON JARS Exactly like the one that was passed forward in the Teaser. Fach one full of the same CRAWLING SCARAB BEETLES. As Reyes holds her candle up close, their carapaces take on the eerie GOLDEN PHOSPHORESCENCE that make them almost otherworldly. Off her wonder and disgust: ACT ONETHE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 1g. d 20 ACT Two FADE IN: DANA SCULLY 70 Dressed in forensic scrubs, leaning down over the internal organs of a cadaver that are reflected in her medical goggles. We are: INT. QUANTICO - AUTOPSY BAY - DAY As Scully pokes through the open chest of Sister Mary’s body with her medical instruments, addressing an overhead microphone: SCULLY Heart and lung tissue all appear healthy. No evidence of cardiovascular failure. Scully cuts into the neck and throat. Something catches her eye. SCULLY I'm noting severe damage to the laryngeal inlet. Some kind of opening... Scully swaps her scalpel for a pair of long steel forceps. Reaches deep into the cadaver’s throat. Peering in close... ++. until she pulls back the forceps to discover THE SCARAB BEETLE from the Teaser. Only now it’s curled up into a tight ball like a dead spider. Its carapace now brown and lifeless. Scully lifts the beetle up close to her goggles for a better look. Raising it up into the light of the overhead lamp... +++ when its legs SNAP OPEN and it starts CRAWLING AT THE AIR. SCULLY Oh my God...! Scully holds the forceps tight, just about keeping her grip on the beetle as its carapace regains its GOLD PHOSPHORESCENCE under the lamp light. Wriggling and squirming away. It’s alive. Scully reaches for a sample container and carefully places the beetle inside. She carries it across to a microscope, slides it under the lens and looks down the scope at: CONTINUEDTHE X-FILES 9acx14 “apostate” (FINAL) 01/26/02 20. 20 CONTINUED: 20 MACRO CLOSE - THE SCARAB BEETLE Under the microscope’s lens, the carapace appears even more intricate with an unusual honeycomb lattice texture. Its mandibles might even appear vaguely alien to the untrained eye. SKINNER (0.8.) What am I looking at here? WIDER TO REVEAL A.D. SKINNER As he peers into the microscope. We’ve made a SHORT TIME CUT. SCULLY I'm not exactly sure. I've sent some digital photographs over to an entomologist at Rutgers University... Scully hesitates, something unpleasant about that thought. skinner looks up from the microscope to her questioningly. SCULLY +++ let's just say I’m not optimistic. SKINNER Where did you find it? SCULLY Lodged in the victim's cerebellum. It had somehow attached itself to the medulla oblongata. SKINNER The brain stem. SCULLY There's evidence it may have burrowed through her larynx to get there. skinner winces as he does the biological arithmetic. SKINNER You're saying it was ingested? SCULLY Entomophagy is not uncommon in South America, Africa and Asia... SKINNER But in mid-west Idaho? CONTINUED‘THE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 2. 21 CONTINUED: (2) SCULLY There may be some religious significance. The scarab beetle was sacred to the Ancient Egyptians. Tribes in Brazil and Mexico have been known to conduct ceremonies in which live insects are ingested to induce prolonged states of unconsciousness and hallucinations. Skinner walks over to the recently-autopsied body. SKINNER Is that what killed her? SCULLY I haven't been able to determine that yet. The beetle itself doesn’t appear to be venomous but. we'll know more when the toxicology report comes back. SKINNER If this cult is using these things in their ceremonies, then Agent Reyes could be in even more danger than she realizes. Off the look of shared concern between Skinner and Scully: cur To: EXT. RURAL COMPOUND ~ DAY 21 Wet sheets are pegged to a clothes line by Sister Anne. A SILHOUETTED FIGURE appears behind one of the white sheets, giving Sister Anne a start before it’s whipped aside to REVEAL: SISTER ANNE - Sister Monica. You startled me. MONICA REYES I’m sorry. May I help you? Reyes smiles and Sister Anne offers her some wet garments from her laundry basket. They resume pegging out items together. MONICA REYES I tried to follow your directions, but I couldn't get away. You know how it is. CONTINUEDTHE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 22. 21 CONTINUED: 21 Sister Anne gives her a cautionary look, then glances across to Sister Grace feeding the goats in the paddock. As if afraid to be caught talking out here. Reyes lowers her voice. MONICA REYES What's out there, Annie? (beat) Can I call you Annie? Sister Anne meets her eyes fondly, but moves along the clothes line with her basket without responding. Reyes follows casually, sensing she’ll need to try a less direct tack. MONICA REYES Where are you from? SISTER ANNE (hesitant) Utah, MONICA REYES I'm from Mexico City, but I came here from New Orleans. T guess I was looking for a different life. Some place to belong. This seems to strike a chord with Sister Anne, but she remains reticent. Continues to peg out the laundry. MONICA REYES How about you? SISTER ANNE + T ran away. MONICA REYES You ran away from home? SISTER ANNE My parents... they caught me one time... with my girlfriend. They... they didn’t approve. MONICA REYES I’m sorry. I kissed a few girls in college, even brought one home. My parents are devout Catholics, but it was never an issue. I guess not everyone is so lucky. Sister Anne meets Monica’s empathetic eyes, finding a warmth and kinship in them that lowers her guard. CONTINUED‘THE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 23. 21 CONTINUED: (2) 21 SISTER ANNE Is that why you came here? MONICA REYES Not really. T’ve always been a 9 deeply spiritual person, so when I heard about this place and the path to enlightenment... it felt like it was calling to me somehow. Maybe that sounds kind of silly. Sister Anne shakes her head - not at all. SISTER ANNE I met Mary - Sister Mary - at a truck stop near Salt Lake. She was on her way here. She saved me. sister Anne becomes tearful at the memory. She covers by gathering her spare clothes pegs into her basket. MONICA REYES Something happened to her, didn’t it? Sister Anne opens her mouth, as if she’s desperate to speak, then catches sight of a pair of Acolytes passing by and clams up. she - takes her basket back toward the farmhouse. Reyes follows close. a MONICA REYES Annie, if you witnessed something, you have to tell somebody. If you're afraid, you can get protection. SISTER ANNE From who? Reyes hesitates, not ready to reveal her true identity just yet. MONICA REYES From the police. I can go with you. SISTER ANNE Go? We can’t go. MONICA REYES What do you mean? We’re free to leave, aren't we? Before Sister Anne can respond, the farmhouse door opens and 3 Mother Judy steps out right in’ front of them. Her eyes stern. CONTINUEDTHE X-FILES 9acK14 "Apostate" (PINAL) 01/26/02 24. 21 22 23 CONTINUED: (3) 21 MOTHER JUDY Sister Anne. Sister Monica. Finished your chores already? SISTER ANNE No, Mother Judy. Sister Anne turns meek again. She lowers her eyes and scurries into the farmhouse with her basket. A beat and Reyes follows. HOLD on Mother Judy as she watches them go, a hint of suspicion playing across her face. How much of that did she hear? cur TO: EXT. RYE FIELD - DAY 22 Now a crime scene, cordoned off by YELLOW POLICE TAPE fluttering in the breeze across the perimeter. An excavation GRID has been laid out using stakes and thick twine where a FORENSIC TEAM in white boiler suits do their painstaking work. The yellow FBI letters on the back of Agent Doggett’s windbreaker move INTO FRAME. Doggett turns in profile to reveal his cell phone held close to his ear as he watches a BODY being unearthed. JOHN DOGGETT (into phone) We discovered another three sets of remains. Maybe more to come. INTERCUT WITH: INT. QUANTICO - SCULLY’S OFFICE - DAY 23 Where Scully and Skinner stand over a SPEAKERPHONE. SCULLY Any indications as to cause of death? JOHN DOGGETT Not from a cursory exam. But dollars to donuts we're gonna find more of these beetle things at the back of their throats. SCULLY You might want to take some precautions. I found evidence to suggest they may still be alive. CONTINUEDTHE X-FILES 9acK14 “Apostate” (FINAL) 01/26/02 25. 23 CONTINUED: 23 JOHN poscETT (dubious) Alive? SCULLY d I’m still running some tests, but these insects appear to secrete a chemical similar to serotonin or possibly lysergic acid. JOHN DOGGETT If you're about to tell me these whack jobs are tripping out by eating live beetles, Agent Scully - SCULLY I’m not sure it’s as simple as that. But whatever these things are, they should be isolated until they can be properly studied. SKINNER Is there any way to get this information to Agent Reyes? In the field, Doggett looks out to A.D. Follmer supervising the excavation in b.g. JOHN DoGcETT 9 None. And I'm having a hell of a time convincing anybody to even authorize a search on the compound. SKINNER Then it sounds like you're going to need some back-up. Skinner meets Scully’s troubled eyes, both of them sharing the same idea. 24 INT. FARMHOUSE - SISTER ANNE’S ROOM - DAY - CAMCORDER POV 24 Sister Anne looks directly AT CAMERA on grainy HI-8 VIDEO. A little RED DOT blinks in the corner of frame, marked “REC.” SISTER ANNE This is April 19th, 2002, and I’m Annie Jacobson. That’s not my name, but that’s how I’m referred to on Planet Earth at this time. CONTINUEDTHE X-FILES gacK14 "Apostate" (FINAL) 01/26/02 26. 24 CONTINUED: 24 WIDER — RESUME 35MM FILM As we ARM AROUND a SONY HANDYCAM mounted on a tripod to find Sister Anne sat opposite, her hands in her lap. SISTER ANNE My purpose here is about to come to a close, as I prepare for my enlightenment with The Shepherd‘s good grace. Now that I’m about to Become one with the body, there’s a few things I want to say. She takes a breath and raises a placid smile, seemingly at peace. Her door sneaks open a crack, but she doesn’t notice. SISTER ANNE To my parents... I want to say, I forgive you. You helped me on my journey here, and I’m grateful for that. To my sister, my spiritual sister, Mary... I’m so so sorry. I had no idea. T never wanted - She starts to tear up, then catches herself when she spots Reyes lingering in her now open doorway. MONICA REYES I'm sorry, I didn’t mean to intrude. Sister Anne jumps up and moves to stop the Handycam recording. SISTER ANNE I’m not sure I’ve got this thing set up right anyway. MONICA REYES Let me take a look. Sister Anne smiles as Reyes moves in behind the Handycam. She pushes a button on the side, but leaves it recording. A rare opportunity to gather some physical evidence. SISTER ANNE Have you recorded your last message yet? MONICA REYES Not yet. I don’t really know what I'd say. Or who I'd say it to. CONTINUEDTHE X-FILES SACK14 "Apostate" (FINAL) 01/26/02 27. 24 CONTINUED: (2) 24 CAMCORDER POV - HI-8 VIDEO As the red dot continues to blink above the letters “REC.” SISTER ANNE I've tried a few times, but I can't seem to get it right. Mother Judy says it’s important for us to make peace with our old lives before the enlightenment. MONICA REYES (0.S.) I’m still not sure exactly what that means. SISTER ANNE Oh, it’s going to be wonderful. We'll be free of all our Earthly pains, free from sorrow. We'll be one with the others. Never alone. WIDER - RESUME 35MM FILM Reyes still doesn’t understand, concerned for what this might really mean. MONICA REYES Is that what happened to Mary? Sister Anne hangs her head, becoming tearful again. SISTER ANNE She wasn’t ready. But I didn’t know - I couldn't know - MONICA REYES It’s not your fault. SISTER ANNE But it is... Her voice breaks as she starts to confess. SISTER ANNE I told Mother Judy she was leaving. I just thought she'd convince her to stay. I didn’t think she'd - Sister Anne starts to cry. Consumed by guilt. Reyes closes the bunk room door and hurries back to Anne, holding her shoulders tenderly. She speaks in a conspiratorial whisper: CONTINUEDTHE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 28. 24 25 CONTINUED: (3) 24 MONICA REYES Listen to me, Annie. You don’t have to go through with this. We can get out of here, you and me. SISTER ANNE No, you don’t understand - MONICA REYES The truck is parked in the barn. We can go tonight. SISTER ANNE I want the enlightenment. I’m ready. It’s all I want. Reyes eyes her in confusion, can’t quite believe Sister Anne hasn't been brainwashed already. She whips her head around when: THE DOOR IS THROWN OPEN by a looming Sister Grace. SISTER GRACE It’s time. Sister Anne dries her eyes and smiles. Off Reyes’ dread: cur To: INT. FARMHOUSE - COMMUNION HALL - DAY 25 Reyes follows Sister Anne as they’re both led in by Sister Grace who shows them to their seats. Most of the other Acolytes are already gathered, sat on the folding wooden chairs either side. Mother Judy stands at the head of the room, just in front of the curtained-off window. She has the HEADSET over her ears, wired up to the HAM RADIO on its stool pedestal. MOTHER JUDY The Shepherd welcomes you... as he prepares to usher in more of his children... with the gift of his enlightenment. Reyes glances across the assembled Acolytes, all listening raptly to Mother Judy as she relays this message. MOTHER JUDY We believe in The Shepherd... GROUP We believe in The Shepherd. CONTINUEDTHE X-FILES gACKI4 "Apostate" (FINAL) 01/26/02 29. 25 CONTINUED: 25 MOTHER JUDY +++ we trust in The Shepherd... Reyes looks to Sister Anne, excitement in her eyes. SISTER ANNE/GROUP We trust in The Shepherd. MOTHER JUDY +++_and through his grace, we shall be enlightened. Reyes turns to find Sister Grace staring back at her, noticing that Reyes is not joining in with the affirmations this time. SISTER GRACE/GROUP And through his grace, we shall be enlightened. Mother Judy lifts off her headset and looks across her audience. MOTHER JUDY Today we celebrate three who have been chosen. Step forward... Sister Elspeth. One of the Acolytes in the second row stands, receiving pats on the arm of encouragement from those around her as she makes her way to the front to kneel in front of Mother Judy. MOTHER JUDY Step forward... Sister Gabriela. Another Acolyte stands just behind Reyes, turning her head as she too moves out to kneel before Mother Judy. MOTHER JUDY Step forward... Sister Anne. Reyes snaps her head around to Sister Anne right beside her as she lights up and stands. As she passes, Reyes reaches out and GRABS HER HAND. Looks up at her pleadingly... ++. but Sister Anne just smiles. This is what she wants. she pulle out of Reyes’ grip and joins the others in kneeling. MOTHER JUDY Humble thyselves in the eyes of The Shepherd, and receive his grace... CONTINUEDTHE X-FILES 9aCK14 “Apostate” (PINAL) 01/26/02 30. 25 CONTINUED: (2) 25 THE MASON JAR containing the crawling scarab beetles is passed forward by a pair of Acolytes to Sister Grace, who hands it over to Mother Judy. She UNCLASPS the lid and offers it to Elspeth. MOTHER JUDY Receive his grace... and be enlightened. Sister Elspeth reaches into the jar and takes out one of the beetles. It GLOWS GOLD in the light... and she places it into her mouth. A beat, then she FALLS ON HER BACK and starts CONVULSING. CLOSE ON REYES As she reacts in alarm, straining to get a better view. Fighting the urge to intervene, but knowing it would be futile. MOTHER JUDY Moves along to Sister Gabriela and offers her the mason jar. MOTHER JUDY Receive his grace... and be enlightened. Sister Gabriela reaches in and picks out another scarab beetle, closes her eyes and places it into her mouth. She too falls flat on her back and begins CONVULSING just like Sister Elspeth. SISTER ANNE Still kneeling alongside, she looks up at Mother Judy with her meek yet hopeful eyes as the mason jar is offered to her next. MOTHER JUDY Receive his grace enlightened. and be Sister Anne hesitates... ++ then reaches in and lifts out her own scarab beetle. It CRAWLS AT THE AIR as Sister Anne regards it with awe. CLOSE ON REYES As she watches, powerless. Willing Sister Anne not to do it with her eyes. Agony playing across her face. Staring desperately at: SISTER ANNE Who hesitates, looking up at Mother Judy... then scrunches her eyes tight and places the beetle inside her mouth. CONTINUEDTHE X-FILES SACK14 "Apostate" (FINAL) 01/26/02 31. 25 CONTINUED: (3) 25 She falls on her back like the others. CONVULSES wildly. Legs thrashing on the floor. Much like Sister Mary in the Teaser. But unlike Sister Mary, each of the Acolytes STOPS CONVULSING and SITS UP IN TURN. First Elspeth, then Gabriela, and finally... SISTER ANNE Site up INTO FRAME. Her eyes are BLOODSHOT... but the crimson starts to drain away as she turns with a beatific smile to: REYES Who can only stare back with dismay and confusion. Off this: END OF ACT TWOTHE X-FILES 9aCKL4 “Apostate” (FINAL) 01/26/02 32. A26 26 ACT THREE FADE IN: INT. FBI COMMAND CENTER - DAY - TRACKING WITH AN OVERNIGHT BAG A26 Being carried over scully’s shoulder. Skinner by her side. Moving at a brisk pace into the busy bullpen. Slightly lost until: JOHN DOGGETT (0.8.) Thanks for coming out. Scully and Skinner turn as Doggett approaches. He takes scully’s overnight bag for her and sets it down in his work area. SCULLY Any word on Agent Reyes? JOHN DOGGETT (shakes head) We're pretty much at a standstill here. A.D. Follmer strides over, not too pleased by the new company. A.D. BRAD FOLLMER Assistant Director. I don’t recall seeing the memo authorizing any additional manpower. SKINNER Just hold the audit, Mr. Follmer. You're going to want to see what we have to show you. Follmer glances to Scully and Doggett, reluctant yet curious. SHORT TIME CUT To: A SLIDE PROJECTOR SCREEN 26 Showing a MACRO CLOSE-UP of the golden scarab beetle. A silhouette falls across the image as Scully steps into f.g. SCULLY The insect belongs to the scarabaeidae genus, most closely resembling the scarabaeus sacer of North Africa. CONTINUEDTHE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 33. 26 CONTINUED: 26 Follmer stands to one side as the others, including agent Farah, are gathered around to listen to Scully's briefing. Doggett and skinner among them, giving her more credence than most. JOHN DOGGETT How did it make its way to rural Idaho? SCULLY I'm not sure it did. We may have discovered an entirely new species here. Quite possibly something prehistoric. A.D. BRAD FOLLMER As fascinating as that would be in a science journal, Agent Scully, how exactly does it help us build a murder case? Scully flicks over her slide to a diagram of a chemical compound. SCULLY A chemical analysis indicated that the beetles had been flooded with catecholamines - adrenal hormones released during the fight or flight response. JOHN DOGGETT That’d make some cockeyed sense, if the victims were force-fed these things. SCULLY These hormones triggered an extreme adverse reaction in the beetles, effectively causing them to clamp down on their victims’ brain stems. AGENT FARAH (skeptical) You're saying resistance to these insects is what makes them kill? SCULLY What I’m suggesting is that these creatures form a kind of symbiotic relationship with their hosts. That this cult may be effectively conditioning its members to act as willing vessels. CONTINUEDTHE X-FILES SACKI4 "Apostate" (FINAL) 01/26/02 a4. 26 CONTINUED: (2) 26 SKINNER Or else wind up victims like Mary Meghellan. d Scully nods. Doggett stands, alarmed by the implications. JOHN DOGGETT All the more reason to get Agent Reyes out of there. If they offer her one of these beetles, we know she’s gonna put up a fight. A.D. BRAD FOLLMER All I’m hearing here is baseless conjecture. Whether the science is accurate or not, anything as to motive is nothing but supposition. Doggett shakes his head, exasperated. JOHN DOGGETT What is it gonna take for you? A.D. BRAD FOLLMER A little something called probable cause, Agent Doggett. Or has your time on the x-files made you forget basic legal procedure? 2 Doggett bites his tongue, frustration boiling under his skin. A.D. BRAD FOLLMER Until we have some solid evidence linking these deaths to the commune or any of its residents, the Attorney General is not going to sign-off on a search warrant. (beat) We're not going to turn this into Ruby Ridge all over again. JOHN DOGGETT Agent Reyes is in danger every second we sit here on our hands. A.D. BRAD FOLLMER Believe me, I’m intensely aware of that... The responsibility weighs heavy on Follmer. As much as he cares for Reyes, he’s torn by his duty and the political implications. CONTINUEDTHE X-FILES 9AcK14 "Apostate" (FINAL) 01/26/02 35. 26 27 CONTINUED: (3) 26 A.D. BRAD FOLLMER .++ but until I hear different from the A.G.'s office or the Deputy Director, we hold here. Doggett grinds his jaw, looks to Scully and Skinner for back-up. SKINNER Then let's at least get a closer look at the compound. Telescopic surveillance. Parabolic microphones. JOHN DOGGETT Finally, somebody’s making sense. A.D. BRAD FOLLMER It’s risky. We could be spotted - SKINNER Not if we stay beyond the tree line. Follmer glances between Skinner and Doggett, outnumbered. SKINNER Given the alternative, I think it’s worth the risk. Don’t you? Off Follmer, almost persuaded: CUT To: INT. FARMHOUSE - SISTER ANNES ROOM - DAY 27 The door creeks open slowly with a KNOCK as Reyes edges in, with more than a little trepidation. MONICA REYES Sister Anne? (beat) Annie, are you okay? HER POV The room is empty. Sister Anne’s bed freshly made. REYES Reacts with growing concern. She hurries out:‘THE X-FILES SACKI4 "Apostate" (FINAL) 01/26/02 36. 28 EXT. RURAL COMPOUND - DAY 28 Reyes emerges from the farmhouse. Scans the grounds anxiously. ‘Then hurries across to: THE GOAT PADDOCK Where Sister Anne is feeding a GOAT, cradling its face in her hands tenderly. A serene smile on her face. MONICA REYES Annie? SISTER ANNE Good morning, Sister Monica. Sister Anne rises and turns to face Reyes. She seems altogether more confident. No trace of anxiety. Meek little Annie is gone. MONICA REYES Are you all right? SISTER ANNE I feel wonderful. Isn't it a beautiful day? Reyes squints as she studies Sister Anne’s new demeanor. MONICA REYES You're not yourself. We should get you to a hospital. SISTER ANNE Whatever for? I’m like Dorothy in ©z. Before, everything was gray. Now I see in glorious technicolor. Reyes backs off, unsettled by Sister Anne's placid contentment. Almost as if she’s high on something. As Reyes turns: SISTER GRACE Steps into her path alongside half a dozen Acolytes. SISTER GRACE Do not envy, Sister Monica. Your time will come soon enough. Reyes looks across the other Acolytes, all with the same unsettling, serene smiles. Surrounded. She edges away from them without turning her back, then dashes back into the farmhouse.THE X-FILES 9acK14 “Apostate” (FINAL) 01/26/02 37. 29 30 31 INT. FARMHOUSE - COMMUNION HALL - DAY 29 Reyes sneaks into the empty hall. Glances back over her shoulder furtively. Relieved to find no one around. Her eyes land on: THE HAM RADIO sitting on its pedestal. Unguarded. REYES Darts over and lifts the idling headset to her ear. Flips a switch. Turns a few dials. Desperate for some sort of signal. MONICA REYES (hushed) This is Special agent Monica Reyes with the FBI. Can anybody hear me? STATIC HISSES through the headset. Reyes twists the knobs... EXT. WOODS - TACTICAL STAGING AREA - DAY 30 A hastily-dug trench supported by sand bags. Shrouded by tall evergreen spruce trees. An FBI HRT unit wears camouflage gear. Doggett ducks low to approach Agent Farah as he squats over some portable RADIO EQUIPMENT, headphones held against one ear. JOHN DOGGETT Tell me you got something, Joe. AGENT FARAH They've got shutters against most of the windows. Parabolics aren‘t having much luck. A brief signal registers through the WHITE NOISE on Agent Farah’s headphones. He holds up a finger to Doggett, turns some dials. AGENT FARAH Hold on... INT. FARMHOUSE - COMMUNION HALL - DAY 31 As Reyes continues to fiddle with the ham radio, desperately attempting to communicate. CONTINUEDTHE X-FILES SacKi4 "Apostate" (FINAL) 01/26/02 38. a1 32 33 CONTINUED: 31 MONICA REYES +++ Does anyone copy? This is Special Agent Reyes. My badge number is - The door CLICKS OPEN and Reyes quickly lowers the headset back onto the stool, covering it with her body. RACK FOCUS TO MOTHER JUDY as she appears in b.g. behind Reyes... EXT. WOODS - TACTICAL STAGING AREA - DAY 32 Doggett reacts eagerly as he leans close into Agent Farah. JOHN DOGGETT was that her? AGENT FARAH I’m not sure. I lost it. JORN DOGGETT You gotta get her back. AGENT FARAH I can’t find the frequency. JOHN DOGGETT If that was her, then she’s calling for help. Doggett looks out to the treeline with mixed emotions. More worried about Reyes than ever, but galvanized with new hope. INT. FARMHOUSE - COMMUNION HALL - DAY 33 Reyes turns INTO CAMERA, affecting innocence as Mother Judy approaches her. MONICA REYES Mother Judy. I was just looking for you. MOTHER JUDY (dubious) Really. MONICA REYES Yes. I was thinking... I’m not sure I really fit in here after all. To be honest, it might be time for me to go. CONTINUED‘THE X-FILES gacx14 "Apostate" (FINAL) 01/26/02 39. 33 34 CONTINUED: 33 MOTHER JUDY The enlightenment ceremony can be overwhelming at first. MONICA REYES I don't think it’s for me. I know that's not what you want to hear. MOTHER JUDY Perhaps you should sleep on it. MONICA REYES I thought we were free to leave whenever we wanted? MOTHER JUDY Of course. But I wouldn't want you to make any rash decisions. Tension simmers between them. The subtext here is that they both know the polite facade is mere pretence and will soon drop. MONICA REYES Maybe if I could meet The Shepherd, face to face... it might allay my doubts. Mother Judy nods slowly. MOTHER JUDY I'll relay your request. Reyes gives a false smile. She watches as Mother Judy picks up the ham radio and carries it back toward the curtained window. She takes a SKELETON KEY from her belt and unlocks the wooden door alongside. Carries the radio into the anteroom. CAMERA PUSHING IN behind her back, but before we can get a look into the room behind the curtain... +++ the door SWINGS CLOSED behind Mother Judy, shutting us out. INT. FBI COMMAND CENTER - DAY 34 Doggett charges in past Scully and Skinner, commanding attention from A.D. Follmer as he makes a beeline for the nearest laptop. JOHN DOGGETT We got something! CONTINUEDTHE X-FILES SACK14 “Apostate” (FINAL) 01/26/02 40. 34 CONTINUED: 34 Follmer shoots a dubious glance at Scully and Skinner as they all gather around over Doggett’s shoulder. JOHN DOGGETT A radio signal picked up by our surveillance post. Doggett keys the laptop to play back a GARBLED RECORDING of the signal, barely recognizable as the voice of Agent Reyes. A.D. BRAD FOLLMER What are we supposed to be hearing? JOHN DOGGETT It’s Monica, gotta be. SCULLY can you clear it up at all? JOHN DOGGETT We didn’t get much before the signal got cut-off. But if she found a way to get a message out, it can only mean she needs help. SKINNER Can we send a transmission back? A.D. BRAD FOLLMER Even if we could, it would only risk blowing her cover. Doggett looks up from the laptop, his frustration bubbling over into anger now. JOHN DOGGETT How many more bodies we gotta find before you pull your finger out? A.D. BRAD FOLLMER I'm doing everything I can, Agent Doggett. JOHN DOGGETT Everything you can to cover your own ass. A.D. BRAD FOLLMER You might want to charge in there guns blazing, but we are officers of the law. CONTINUEDTHE X-FILES SacK14 “Apostate” (FINAL) 01/26/02 41. 34 35 CONTINUED: (2) 34 Doggett shakes his head, infuriated by Follmer’s political self- justifications. JOHN DOGGETT You know I can’t figure what Monica ever saw in you. SCULLY Count to ten, Agent Doggett. But he ignores her warning as he squares up into Follmer's face. JOHN DOGGETT If she were here, she’d march through hell for either one of us. But you don’t care about anybody but yourself. A.D. BRAD FOLLMER Don’t tell me I don’t care. I know Monica better than you ever have. Certainly more intimately. On that, Doggett LUNGES toward Follmer but Skinner darts in between them, restraining Doggett before they come to blows. SKINNER Let’s take a walk, John. Doggett shrugs himself out of Skinner's grip and backs off. Gives Follmer a parting glare. Then turns and storms out. A tense, charged look passes between Skinner and Scully before she takes off to go after him. INT. CORRIDOR OUTSIDE FBI COMMAND CENTER - MOMENTS LATER 35 Doggett paces the hallway, letting off some steam. scully emerges from the main room and heads over to join him. JOHN DOsGETT I know, I know. SCULLY Not that you aren’t saying what we're all thinking, but you need to keep your head in there. JOHN DoGGETT I've been biting my tongue for the last three weeks already. I can’t keep doing it. Not now. CONTINUEDTHE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 42. 35 36 CONTINUED: 35 SCULLY What good are you to Agent Reyes if you get yourself suspended and sent back to Washington? Doggett nods. He knows she’s right, appreciates her counsel as much as her solidarity. But the mood changes with his tone. JOHN DOGGETT This whole thing was my idea. I brought the case in. She wouldn't be out there if it weren’t for me. SCULLY Monica volunteered for this, right? She can handle herself. JOHN DoGGETT I know she can. But I’m supposed to have her back. How can I do that sat here behind a computer? Scully places a comforting hand on Doggett’s arm. SCULLY She’s coming home, John. We're going to make sure of it. Doggett nods along, strengthened by Scully's support but can’t help feeling powerless. Can’t help fearing the worst. INT. FBI COMMAND CENTER - DAY 36 Skinner tentatively approaches Follmer as he cools off. Affects a more reasonable, political manner to reach him on his level. SKINNER Mind some advice, me to you? A.D. BRAD FOLLMER You want to take a swing at me too, Mr. Skinner? Tell me I'm calling all the wrong shots? SKINNER You're in a tough position, shouldering all the responsibility. Believe me, I've been there. CONTINUEDTHE X-FILES 9acK14 "apostate" (FINAL) 01/26/02 43. 36 37 CONTINUED: 36 A.D. BRAD FOLLMER So you're here to take command, is that it? SKINNER Not a chance. The Bureau's seen too many of these in the last decade. Branch Davidians, Temple of the Seven Stars... A.D. BRAD FOLLMER That's exactly what I’m trying to prevent. SKINNER (nods) Playing it by the book. But I’ve been around long enough to know that if things go south, it won't matter how many tactical rules you followed or didn’t. Follmer considers Skinner's advice, starting to see his logic. SKINNER If it looks bad, it’s bad for the FBI. You'll be Kersh’s scapegoat, one way or another. That’s why he put you in charge down here. A.D. BRAD FOLLMER You're saying we should move in on the compound, regardless of the Constitution. SKINNER Unless you want the next Heaven's Gate to go down on your watch... and Agent Reyes along with them. Follmer takes in the severity of Skinner's warning, swayed by his conviction as much as the fear of being blamed for his inaction. cur To: EXT. RURAL COMPOUND - NIGHT - A CANDLESTICK 37 Flickering in the wind as Reyes carries it toward the barn, checking over her shoulder as she goes. More urgent than ever.‘THE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 44. 38 39 40 INT. BARN — NIGHT 38 Reyes pushes in. Heads straight for the pick-up truck. Gets in behind the wheel. Searches high and low for the keys. Checks the sun visors. Nothing. Undeterred, Reyes rests her candle on the dash and feels under the wheel until she prises open the casing over the ignition. She fumbles with the wires. Trying to hotwire it. But she doesn’t really know what she’s doing, and can hardly see by candlelight. The wires SPARK as she flicks them together... but the engine doesn’t turn over. Not even a groan. It’s useless. REYES Climbs down out of the truck. Holds her candle out across the barn. Her gaze landing on: HER POV - GAS CANS Resting alongside the truck. Then PANNING OVER to: A TOOLBOX On a shelf across the barn. REYES Considers her options. A plan forming in her mind. she crosses to the toolbox, roots around inside until she finds A SCREWDRIVER. INT. FARMHOUSE - COMMUNION HALL - NIGHT 39 Reyes sneaks into the empty, darkened hall. The amber glow of her quivering candle all that lights her way. Reaching: THE WOODEN DOOR Beside the curtained window. Its keyhole gaping. REYES Drops to her knees and begins working to pick the lock with her screwdriver. Glances back over her shoulder. Furtive. Urgent. INT, FARMHOUSE - THE SHEPHERD'S ANTEROOM - NIGHT 40 In pitch darkness until a CLUNK from the other side of the door as the lock is breached. The door swings open with a CREEK as: CONTINUEDTHE X-FILES SaCKI4 "Apostate" (FINAL) 01/26/02 45. 40 CONTINUED: 40 REYES Enters carrying her candle. Her eyes widening as she takes in what she sees of the room... HER Pov There's nobody here. Under the red velvet curtain, there's a desk full of COMPUTER and RADIO EQUIPMENT. TELEPHONES. TVs and VCRs. An array of modern communication technology entirely at odds with the simple, agrarian lifestyle of the rest of the commune. REYES Drinks it all in with quiet amazement. Holding her candle closer to a set of shelves housing row upon row oft HOME VIDEO TAPES Each one marked with a handwritten label: GABRIELA’S LAST EXIT, 4/10/02 - ELSPETH'S LAST EXIT, 4/14/02 - ANNE’S LAST EXIT, 4/19/02 - MARY'S LAST EXIT, 3/3/02. REYES Runs her finger along the tapes. Stopping at Sister Mary's. At last, all the hard evidence she’s been searching for. She takes the tape over to the VCR only to freeze when: OVERHEAD LIGHTS FLICKER ON, illuminating the whole room in their bright fluorescent glow. Having been switched on by: MOTHER JUDY Looming in the doorway. Stern and forbidding. MOTHER JUDY I'm so very disappointed in you, Sister Monica. Or should I say... Special Agent Reyes. PUSHING IN ON REYES A deer in the headlights. Her cover blown. Her identity exposed. a ACT THREETHE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 46. 41 42 43 ACT FOUR FADE IN: CLOSE ON AN FBI HRT MARKSMAN 41 Wearing black BDUs and carrying an MP-5 RIFLE. Hustling low across the darkness. Clearing frame to reveal we are: EXT. WOODS - TACTICAL STAGING AREA ~ NIGHT Teaming with urgent activity. A.D. Follmer in charge, flanked by Skinner, Scully and Doggett wearing KEVLAR VESTS under FBI windbreakers. A line of HRT MARKSMEN march toward the tree line. A.D. BRAD FOLLMER Red Team will approach from the south east entrance, you’re on me. Blue Team will enter from the north, with A.D. Skinner. Clear? Nods from the gathered Agents. Follmer lifts a radio. A.D. BRAD FOLLMER (into radio) Any sign of movement? EXT. RURAL COMPOUND - NIGHT - AT THE TREELINE 42 Agent Farah lies flat on his stomach beside a MARKSMAN in BDUs peering down the scope of his rifle. Farah lowers a pair of BINOCULARS and lifts his radio. AGENT FARAH (into radio) Negative. It’s dead out here. As he lifts his binoculars again: HIS POV ~ BINOCULAR MATTE Staring straight across to the farmhouse under the full moon. No signs of life from this distance. INT. FARMHOUSE - COMMUNION HALL - NIGHT 43 As Reyes is hauled out of the anteroom by two HEAVYSET ACOLYTES who muscle her down into one of the wooden folding chairs. CONTINUED‘THE X-FILES SAcK14 "Apostate" (FINAL) 01/26/02 47. 43° CONTINUED: 43 MONICA REYES I'm a federal agent! I’m placing you all under arrest. Mother Judy walks over to face her. MOTHER JUDY You are nothing but an infidel and a traitor. MONICA REYES You murdered Mary Meghellan. How many others? MOTHER JUDY Heresy from an unbeliever. Reyes appeals to the two Acolytes who restrain her by her arms. MONICA REYES There's no one back there, you know. Go see for yourself! This whole thing is one big lie. MOTHER JUDY I consulted with The Shepherd about you specifically. He told me you worked for the FBI. That you'd Deen sent here to destroy us. MONICA REYES The Shepherd is nothing more than a computer and a high-speed modem. Mother Judy looks up as Sister Grace appears in the doorway over Reyes’ shoulder in b.g. MOTHER JUDY Gather the others. We don’t have much time. Sister Grace nods and departs. Mother Judy paces in front of Reyes as she struggles against the grip of the Acolytes. MOTHER JUDY I had high hopes for you, Sister Monica. T thought you had finally found your calling. MONICA REYES There's nothing here but conformity and control. And for what? (more) CONTINUEDTHE X-FILES 9aCK14 "Apostate" (FINAL) 01/26/02 48. 43 44 45 46 CONTINUED: (2) 43 MONICA REYES (cont'd) So you can live out here under your own laws? Your own religion? MOTHER JUDY The New Age is coming, and there shall be a reckoning... EXT. RURAL COMPOUND - NIGHT - AT THE TREELINE 44 Agent Farah points a PARABOLIC MICROPHONE toward the farmhouse, listening in over a headset: MOTHER JUDY (0.C.) (futzed) «++ and out of the ashes of the old world, we will be prepared to survive, free from the oppressive bonds of men. Agent Farah lifts his radio to his lips. AGENT FARAH I’m getting something - EXT. WOODS - TACTICAL STAGING AREA - NIGHT 45 Follmer responds across the radi A.D. BRAD FOLLMER Hold for my signal. Doggett checks the clip on his gun, antsy. JOHN DOGGETT We can’t wait. I’m going in under the radar, see if I can stop this turning into a bloodbath. And he takes off toward the treeline, not waiting for permission. A.D. BRAD FOLLMER Doggett! EXT. RURAL COMPOUND - NIGHT 46 Doggett stalks up towards the farmhouse. Ducking low. His gun held firmly in both hands, pointed at the ground. He reaches a side door. Tries the handle. Locked. CONTINUEDTHE X-FILES SACK14 "Apostate" (FINAL) 01/26/02 49. 46 a7 4g CONTINUED: 46 Moving to a window alongside, Doggett puts his elbow through the glass with a light SMASH. He reaches in and unclasps the window. CAMERA CREEPING IN BEHIND as Doggett climbs up and into: INT. FARMHOUSE - DINING HALL - NIGHT 47 Where Doggett lands on his feet. Keeping as quiet as possible. He stalks off through the darkness when: WHAM! A RIFLE BUTT strikes him on the back of the head. Doggett tumbles to the floor. His gun goes skittering into the shadows. He clutches the back of his head. Turning over to find: HIS POV - LOW ANGLE ON SISTER GRACE Standing over him, pointing the barrel of an AK-47 in his face. INT. FARMHOUSE - COMMUNION HALL - NIGHT 48 Reyes struggles against the Heavyset Acolytes but they pin her in her chair. She tries to angle her head around as... +++ several other ACOLYTES file into the hall. They gather around Reyes in a horseshoe shape with Mother Judy at the head. Ominous. MONICA REYES Listen to me! I’m an FBI agent! There’s a telephone in the office back there - call for help! But no one seems to listen. They all share the same placid, glass- eyed expression. MONICA REYES Anyone who stays here will be considered an accessory to a crime. MOTHER JUDY We forgive your blasphemy, sister Monica. Soon you will forgive yourself. Reyes squints, troubled by what this may mean. Her eyes drift over to: CONTINUEDTHE X-FILES SACK14 "Apostate" (FINAL) 01/26/02 50. 48 49 50 51 52 CONTINUED: 4g SISTER ANNE As she glides up the aisle toward Mother Judy... carrying the all- too familiar MASON JAR full of SCARAB BEETLES. REYES Stares up at Sister Anne with pleading eyes as she proffers the mason jar to Mother Judy. As she unclasps the lid... MOTHER JUDY Receive his grace... and be enlightened. Off Reyes’s terror at what she knows is coming next: cur To: INT. BARN - NIGHT - AN OILY RAG 49 Stuffed into the GAS CANS beside the truck. On fire. Burning down slowly all this time. The flame finally reaching the can - EXT. BARN - NIGHT 50 - and KABOOM!!! A huge fireball EXPLODES up out of the barn. EXT. WOODS - TACTICAL STAGING AREA - NIGHT 51 Follmer reacts to the sound. Lifting his radio: A.D. BRAD FOLLMER That’s it - MOVE IN! EXT. RURAL COMPOUND - NIGHT 52 Skinner leads a team of HRT MARKSMEN as they surge across toward the farmhouse. Rifles poised. Aiming forward. Moving as a unit. POP!-POP!-POP!-POP! Automatic GUNFIRE rattles out from the farmhouse windows. SKINNER Hite the deck to avoid the shots as several MARKSMEN hurl TEAR GAS GRENADES through the farmhouse windows.THE X-FILES SACKI4 "Apostate" (FINAL) 01/26/02 51. 53 54 INT. FARMHOUSE - DINING HALL - NIGHT 53 Doggett reacts to the sound of GUNFIRE outside. Pinned against the wall by Sister Grace. Her AK-47 pointing at his face. JOHN DOGGETT We got the whole place surrounded. There's no getting out of this. BOOM!! - THE DOOR BURSTS OPEN FROM THE FORCE OF A BATTERING RAM. Flashlight beams stream in. Mounted on the rifles of the HRT TEAM in their BDUs. Led by: SCULLY FEDERAL AGENTS! DROP YOUR WEAPON! Scully has her gun held in both hands, training it on: SISTER GRACE As she panics. Whips her AK-47 off Doggett and AT SCULLY - BLAM! ! Scully fires first. Sends Sister Grace flying back with a well- placed shot to her shoulder. Her rifle falling to one side. The HRT TEAM flood in. Pin Sister Grace down. Secure the rifle. Scully rushes over to assist Doggett, checking his wound. SCULLY Agent Doggett? JOHN DOGGETT Monica... Doggett wastes no time in retrieving his own gun from the floor and leading the way deeper into the farmhouse to find her. INT. FARMHOUSE - COMMUNION HALL - NIGHT 54 As the sound of continued GUNFIRE rages outside. Reyes fighting against the restraining Acolytes without success. MONICA REYES Den‘t do this! Mother Judy lifts a crawling SCARAB BEETLE from the mason jar held open by Sister Anne. Edges over to Reyes. Closing in... CONTINUEDTHE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 52. 54 55 56 CONTINUED: 54 MONICA REYES Annie... Annie, please. But Sister Anne looks away. MONICA REYES This isn’t you. The girl I got to know wouldn't do this. Sister Anne seems to falter, glancing back to Reyes as Mother Judy advances toward her. INT. FARMHOUSE - HALLWAY OUTSIDE COMMUNION HALL - NIGHT 55 Follmer leads an HRT TEAM to a “T” intersection crossing before the communion hall, guarded by a pair of AK-47 WIELDING ACOLYTES. Skinner leads another HRT TEAM from the opposite direction. He nods across at Follmer as their two units meet. Ready. A.D. BRAD FOLLMER FBI! Throw down your weapons and step out! Slowly! No response. Follmer signals over to Skinner and... an HRT MARKSMAN rolls a TEAR GAS GRENADE around the corner. SMOKE fills the hallway as -— POP!-POP!-POP!-POP! - automatic weapons SPRAY BULLETS back at the intersection. Skinner and Follmer lean out from their positions of cover and RETURN FIRE through the smoke at the Acolytes guarding the door. INT. FARMHOUSE - COMMUNION HALL - NIGHT 56 Mother Judy holds the SCARAB BEETLE over Reyes. She squirns desperately against the Acolytes who hold her down. MONICA REYES Annie! I know you're still in there! Fight it, Annie! The Acolytes HOLD HER JAW OPEN. Pinch her nose. SISTER ANNE Conflict playing on her face. A flicker of humanity in her eyes. CONTINUEDTHE X-FILES 9ACK14 "Apostate" (FINAL) 01/26/02 53. 56 CONTINUED: 56 REYES ‘Twists her head left and right. Struggling... ++ but the Acolytes GRAB HER HEAD in a vice-like grip as Mother Judy lowers the crawling scarab beetle into her mouth when... CRASH! Sister Anne SMASHES THE MASON JAR OVER MOTHER JUDY’S SKULL. She tumbles forward at Reyes’ feet. The scarab beetle falls into her lap. Scurries across her legs. Reyes seizes the moment to JAB HER ELBOW at one of the Acolytes retraining her. Wrestling herself free from their grip. MOTHER JUDY On her hands and knees. Dazed and wounded. Watching in dismay as: THE SCARAB BEETLES (SPFX) Scatter from the shattered mason jar. Scurrying away across the hardwood floor in all directions. MOTHER JUDY No! - Reyes looks over to Sister Anne with gratitude as: THE DOORS FLY OPEN and the FBI HRT TEAM comes charging in with rifles raised, led by Follmer and Skinner with their pistols. A.D. BRAD FOLLMER SKINNER FEDERAL AGENTS! DROP YOUR FBI! GET DOWN! ON THE GROUND! WEAPONS! ON THE GROUND NOW! The Acolytes raise their hands in surrender. All the fight has suddenly gone out of them. As they are cuffed and arrested... DOGGETT AND SCULLY Come racing through the melee. Doggett running straight for: JOHN DOGGETT Monica! He reaches her side, taking her face in his palms to examine her for injuries. MONICA REYES I'm okay. John... CONTINUEDTHE X-FILES Sacxi4 "apostate" (FINAL) 01/26/02 54. 56 CONTINUED: (2) 56 Her eyes have drifted past Doggett and across to: MOTHER JUDY Still on her knees, blood pooling from the wound on her skull. She starts to GAG. Her eyes turn bloodshot. GASPING for breath... +++ as her neck starts to BULGE and UNDULATE until something in her throat BREAKS THE SKIN and BURSTS THROUGH HER NECK... A LARGE, VICIOUS QUEEN BEETLE (SPFX) Twice the size of the others, more like an eight-ball. Its legs fierce and claw-like. Its proboscis like a pincer. Drooling a sticky, translucent fluid. Half crab, half scorpion. Timeless. Dosesrr Winces as it crawls out of Mother Judy and BLAM!-BLAM!—BLAM! He FIRES fast but the Queen Beetle barely slows as it SKITTERS OFF across the floor in a blur, disappearing under the chairs. Doggett lowers his gun and looks back to Reyes. Neither one of them has words to explain, but their eyes express the intense relief they share at seeing each other safe. Until: MONICA REYES Annie... ? Reyes notices Sister Anne dropping into a chair only to knock it aside and sink to the floor, as if fainting. MONICA REYES Agent scully! Reyes darts over to Sister Anne’s side, joined quickly by scully who squats down to examine her. SCULLY Her pulse is thready. She may have some internal bleeding. (shouting back) Get the paramedics over here! Skinner rushes off to fetch them, leaving Doggett and Follmer to watch from a respectful distance as: SISTER ANNE Starts to drift away, her eyes bloodshot. Not like Mother Judy. Not violent or painful, but somehow peaceful. Herself again. CONTINUEDTHE X-FILES 9acK14 "Apostate" (FINAL) 01/26/02 55. 56 57 CONTINUED: (3) 56 SISTER ANNE I'm sorry... MONICA REYES Hold on, Annie. Help is coming. SISTER ANNE I finally found... my purpose. Reyes cradles Annie’s head in her hands as the crimson tide rises over her pupils and the life drifts out of her eyes. CLOSE ON REYES Tears forming in her own. Powerless to help the young woman who saved her life. HIGH AND WIDE OVER THE ROOM As the remaining Acolytes are led away in handcuffs and Skinner returns with a pair of EMTs who rush over to Annie lying in Reyes’ arms. But it’s too late. Scully backs away to join Doggett and Follmer as they look across the mess the hall has been left in. Mother Judy dead at their feet. But no trace of a single scarab beetle to be found. MATCH CUT TO: EXT. RURAL COMPOUND - NIGHT - HIGH AND WIDE 57 As the emergency lights from a fleet of POLICE CARS and AMBULANCES flicker over the farmhouse. Acolytes being led out in handcuffs to a long line of waiting n.d. sedans. CAMERA CRANING DOWN TO FIND Doggett standing beside Reyes, an FBI windbreaker draped over the shoulders of her white garments. JOHN DoscETT Forty-nine members in custody. Six casualties. Four fatalities, including Judith Frears and’Annie Jacobson. Reyes hears him but isn’t really listening as she stares across at the BODY BAGS being carried out of the farmhouse in b.g. JOEN DOGGETT Coulda been a helluva lot worse. Scully approaches. She speaks gently. CONTINUEDTHE X-FILES SAcK14 "Apostate" (FINAL) 01/26/02 56. 57 CONTINUED: 57 SCULLY We searched the barn for more of these beetles, as you instructed - no trace. But they may have been incinerated in the explosion. MONICA REYES Where do you think they came from? SCULLY They say more than five thousand new insect species are discovered each year. They may have been dormant for millions of years until climatic conditions caused them to surface or to migrate. Reyes nods, distant. Not entirely satisfied but not surprised. SCULLY You should get yourself to the hospital, Agent Reyes. MONICA REYES I'm fine, really. Scully gives her a supportive touch of the arm, then glances to Doggett as if to say “take care of her” before heading off. MONICA REYES She wanted to believe in something so badly. Annie. Didn’t even matter what it was. JOHN DOGGETT How about you? Did you believe it? Reyes looks away, evading the question. Her gaze lands on Follmer as he supervises the arrests with skinner and Agent Farah. He turns and their eyes meet briefly. A guilty look from Follmer. MONICA REYES These women came here looking for a purpose. For a place to belong. And in some strange way, it gave them that. JOHN DoscETT Sounds like the textbook definition of a cult to me. Follmer hesitates, thinks about coming over. Then stops himself and walks away. Reyes meets Doggett’s eyes instead. CONTINUEDTHE X-FILES Sack14 "Apostate" (FINAL) 01/26/02 57. 57 CONTINUED: (2) 57 MONICA REYES Is it really all that different to any other organized religion? JOHN DOGGETT d You're asking the wrong guy. About all I believe in is what I can slap a pair of cuffs around. MONICA REYES Maybe it comes down to a matter of will, Whether we let someone else give us our purpose, or decide for ourselves. Reyes heads for the open doors of an n.d. sedan, leaving us with that thought as we CRANE UP HIGH OVER THE COMPOUND and the sea of blue and red lights strobing across the darkness. Off this: FADE OUT. THE END