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Season 1 - 14. Gender Bender 7-15

3. března 2009 v 20:36 | GGB.Calwen |  +X-Files

SCENE 7

A DANCE CLUB, THE SAME ONE AS IN THE TEASER
A young man [Marty] approaches a blonde woman.
MARTY (MALE): Would you like to dance?
BLONDE WOMAN: Not right now.
He takes her hand.
BLONDE WOMAN: Look, I'm really not interested, OK?
MARTY (MALE): Just one dance?
As the man strokes her hand, the woman's expression changes and she smiles at him.
BLONDE WOMAN: Hi.
MARTY (MALE): One dance?
He takes her hand and she follows him to the dance floor.


SCENE 8

NEAR THE KINDRED'S PROPERTY
It is night, and members of the Kindred, carrying lanterns, have led Mulder and Scully into the woods.
BROTHER WILTON: It's a mile to your car. Stay in the path.
MULDER: Thanks for your cooperation.
Mulder and Scully leave the group, each carrying a lantern. They walk toward the car, now out of sight of the group.
MULDER: The Addams family finds religion.
SCULLY: Take me back to the 20th century.
MULDER: You believe all that back there, Scully?
SCULLY: Believe all what?
MULDER: All that "we take care of our own" business?
SCULLY: Well, they better take care of their own or that man at the dinner table is a dead man.
MULDER: I think it was all an elaborate act.
SCULLY: What? The choking?
MULDER: No, all this simple life, living from abundance crap. These people know something, Scully. You can see it in their eyes - the way they look at one another.
SCULLY: Do you think they know who the murderer is?
MULDER: Did you notice how they managed not to answer a single question of ours? And that outburst at the table was right on cue. Somehow, they got us to answer their questions. Did you ask yourself why there weren't any children around?
SCULLY: I know, that was odd.
They've stopped along the path.
MULDER: You want to know what was really odd? You know those pictures we saw down in the store in Steveston today, the ones from the thirties? I swear I saw some of those same faces at the dinner table tonight.
SCULLY: These people have probably been intermarrying for years.
MULDER: Maybe. Maybe not everything is as black and white as it appears to be.
Mulder turns off his lantern.
SCULLY: What are you doing?
MULDER: I'm going to go back for a little look-see.
Scully turns off her lantern and follows. As they get back to the property, they see that the main house is dark. They hear a distant chanting noise.
MULDER: Maybe they went to the movies. Do you hear that?
SCULLY: Uh-huh.
They follow the noise and see a group of people carry lanterns and chanting. They quietly approach as the group goes into a barn and closes the door behind them. Mulder and Scully creep to the barn and peer through spaces in the barn wall. They see a solemn procession, with members carrying the motionless body of Brother Aaron, the one who was choking earlier. A horse near the barn wall becomes agitated, and several members look around warily as part of the group goes through a cellar door in the barn. The rest go back out of the barn.
SCULLY: What do you think?
MULDER: I think I want to see what's in that cellar.
Mulder goes around to the door while Scully stays. Through the wall, she sees Mulder enter, walk to the cellar door and enter. Just then, Brother Andrew startles her, placing his hand on her shoulder from behind.


SCENE 9

STILL OUTSIDE THE BARN
BROTHER ANDREW: Come with me. I can give you information.
Scully rises and follows him.
Mulder has entered the cellar and is walking down a narrow tunnel. As he nears the chanting noise, he stops and observes though a hole in the wall. Members of the kindred are in a cave-like opening.
Brother Andrew and Scully enter a room in the house.
BROTHER ANDREW: I know who did it.
SCULLY: The murders?
BROTHER ANDREW: You've heard our prayers. You've seen how we live our beliefs. I want you to find this killer. I want you to find him for me. He was my best friend.
SCULLY: What's his name?
BROTHER ANDREW: Brother Martin. I called him Marty.
Back in the cellar, Mulder watches the others perform a ceremony around Brother Aaron's body. They mix spring water with clay material and rub the mixture onto his body.
In the house, Scully and Brother Andrew are in a darkened room, illuminated by a single lantern.
BROTHER ANDREW: Marty was different.
SCULLY: What do you mean, different?
BROTHER ANDREW: How does he kill?
SCULLY: We're not sure. All of the victims died of cardiac arrest.
BROTHER ANDREW: He poisons them, doesn't he?
SCULLY: Maybe, how do you know that?
Andrew wedges a chair under the door to block it. Scully shows some apprehension.
BROTHER ANDREW: I need to show you something ... something about Marty.
Back in the cellar, the group lifts Brother Aaron's body and leaves it in the cellar, although Mulder cannot see where they put it. They then head back out. After they leave, Mulder moves into the main opening of the cave.
In the house, Andrew has brought out a stack of magazines covered in a black cloth. He shows them to Scully.
BROTHER ANDREW: We found them out on route 44. We were wandering. Marty and I used to do that - explore the edges of our world. Someone must have left them for garbage. They are garbage.
Scully has looked through the magazines. One of them was entitled "Adventurer", another looks like "Bazaar".
SCULLY: Why did you keep them?
BROTHER ANDREW: It was Martin who kept them. Some of what I saw in the magazines ... some of it was beautiful, but most of it I didn't like. It was garish. But Martin - Marty - he couldn't get enough. He liked even the paper it was printed on - slick. Marty was captured by your world. He left us to become one of you.
In the cave, Mulder samples the clay mixture and examines the clay table that Brother Aaron's body was on. He also sees several holes in the clay wall, one of which has a light behind it and a spongy cover on the opening. He hears voices. Grabbing a lantern, he hurries back toward the entrance but sees that people are coming back into the cellar. He runs back into the main chamber and dives into one of the darkened holes in the wall just as several men enter.
KINDRED MAN #1: Brother Wilton! The woman has returned.
BROTHER WILTON: Where is she?
KINDRED MAN #1: With Andrew, in the main house.
BROTHER WILTON: What about the other one?
KINDRED MAN #1: He's missing.
BROTHER WILTON: Come.
They leave. Mulder, who has overheard their conversation, looks around where he has been hiding and sees Brother Aaron's body covered in the clay material. His hair seems longer and darker. As Mulder watches, Aaron's eyes open, startling him.
Scully and Andrew are still in the house.
SCULLY: You said Marty was different.
BROTHER ANDREW: Yes.
SCULLY: How? How did he kill his victims?
BROTHER ANDREW: I could be banished.
SCULLY: Does it have something to do with the ceremony in the barn tonight?
Andrew walks to Scully and takes her hand, rubbing it with his thumb.
SCULLY: What are you doing?
Outside, Mulder has left the barn and runs next to a fence, near the house. He sees a light on in the house.
MULDER: loud whisper Scully ...
There is no answer, and Mulder heads toward the house. Inside, Andrew is still stroking Scully's hand and reaches to touch her face. Scully's expression is blank.
BROTHER ANDREW: Marty is different. We're all different.
He moves closer and nuzzles her neck.
SCULLY: Oh ... oh.
Scully's body goes limp and Andrew has no difficulty pushing her down on the bed and laying on top of her. The doorknob starts rattling.
MULDER: in the hallway Scully?
Mulder breaks through the door and sees them on the bed.
MULDER: Get off of her!
He grabs Andrew and shoves him aside, then lifts Scully, who is still limp, off the bed and helps her out of the room. Moments later, they exit the house, with Scully now walking by herself but still dazed. They encounter a group of the Kindred as they come out the door.
SISTER ABIGAIL: I asked you not to interfere.
They all stare at each other for several seconds. Sister Abigail stands aside, clearing a path for them to leave. Mulder nods. Scully is still dazed, and Mulder leads her away by the hand. The Kindred go into the house, as Mulder and Scully get out of hearing range. Mulder has his arm around Scully, who is still walking stiffly.
MULDER: What the hell were you doing back there?
SCULLY: weak voice I don't know.
MULDER: You don't know?
SCULLY: No.
Scully stops and stumbles a few steps back, coughing.
MULDER: You all right?
Scully bends over and becomes nauseous.


SCENE 10

THE DANCE CLUB
A young man, Michael, is on the phone as the loud music pounds in the background. As he speaks, a young woman, the same one from the opening scene, approaches and touches his hand.
MICHAEL: to phone I wasn't ignoring you. No. Of course I saw you, I just didn't recognize you, that's all. to the young woman Excuse me, I'm having a conversation ...
She moves to the other size of him and starts to stroke his other hand. He slowly turns to look at her. He puts the phone down and she then leads him away by the hand.


SCENE 11

NEAR STEVESTON
Mulder has stopped at a diner and brings two cups of coffee back to the car, giving one to Scully.
SCULLY: Thanks.
MULDER: How you feeling?
SCULLY: Better ... a little embarrassed, actually.
MULDER: Why? You don't remember any of it.
SCULLY: It's like I don't remember ...
MULDER: Why didn't you get out of there before he ...
SCULLY: Because he told me he knew who the killer was.
MULDER: How did you know he wasn't the killer?
SCULLY: I believed him.
Mulder sighs as he drinks his coffee.
SCULLY: So what did you see down in the cellar?
MULDER: Just Brother what's-his-name buried in some gopher hole in the wall. Buried alive.
SCULLY: How do you know he was alive?
MULDER: Because I was in there with him. And his face was ... was different. Even his hair, it was almost feminine. It was like he was going through some kind of a transformation.
SCULLY: Changing sexes?
MULDER: That would explain the hotel security video.
SCULLY: So you're saying these people ...
MULDER: I know what I saw, Scully. And I saw you about to do the wild thing with some stranger.
Scully stares at him for a few moments.
SCULLY: Think he was trying to kill me?
MULDER: Maybe it's the sex that kills.
SCULLY: Well, if he was trying to kill me, why did they let us go?
MULDER: I don't know.
He starts the car.


SCENE 12

A PARKED CAR
Michael and the young woman are making out in the front seat. She is sitting on his lap, kissing him. A figure with a flashlight approaches and knocks on the window.
COP: All right. Let's break it up. Michael groans Out of the car.
MARTY (FEMALE): getting out of the car Sorry, officer.
COP: to Michael, still in the car You, too. to Marty You a pro?
MARTY (FEMALE): Pro?
Michael starts groaning and gasping in pain. The cop hears him and looks over to see what's wrong.
COP: What?
Marty flattens the cop with a left hook to the jaw. As Michael continues to gasp in the car, the cop gets to his knees and Marty, who now looks like a man, delivers an uppercut to the cop's jaw, knocking him out. Michael wipes away the fog on the driver's window and looks out of the car, seeing a man staring back at him. The man runs away as a wide-eyed Michael coughs.


SCENE 13

A HOSPITAL
Michael is lying in a hospital bed, being questioned by Mulder and Scully.
MICHAEL: On a scale of 1 to 10, she was a kind 3. But there was something about her.
SCULLY: Did she touch you or make physical contact in any other manner?
MICHAEL: Her touch was ... electric. But after that, I remember only vaguely.
MULDER: What do you remember?
MICHAEL: Nothing, actually.
MULDER: Try to remember, Michael. The policeman at the scene supports what you said, but maybe there was something ... unusual about this woman. Something you wouldn't feel comfortable telling the police on the record.
MICHAEL: But this is off the record?
MULDER: Absolutely.
SCULLY: What did you see, Michael?
MICHAEL: After she left the car and she was fighting with the cop, I saw her in her clothes and she looked like ... nervous laugh ... she looked like a man.
Mulder and Scully exchange glances.
SCULLY: She was a man.
MICHAEL: Hustling in the club scene used to be so simple. to Mulder That's off the record.
MULDER: Scout's honor.
Mulder and Scully are walking down a hallway in the hospital.
SCULLY: Well, I can't rule out the possiblity that who we're looking for is a transvestite.
MULDER: I think Don Juan in there knows the difference between the male and the female of the species.
SCULLY: I just don't want us to ignore the obvious. I mean, how else could you explain a woman overpowering a 200-pound cop? She was a he.
An agent runs toward them.
AGENT #1: Agent Mulder? Agent Scully? The credit card that was stolen from the last victim in DC was just used to order takeout in a hotel downtown, about 8 blocks from here.


SCENE 14

A HOTEL ROOM
MARTY (FEMALE): It was always forbidden, but after the first time I couldn't help myself. Touching a human man, or a woman, is as powerful for me as it was for you.
Mulder and Scully are entering the hotel.
SCULLY: This is Agent Scully requesting police backup and additional agents at 771 Catherine Street. It's the Hotel Catherine.
Back in the hotel room, as Marty continues to talk, we see that she is talking to an apparently lifeless man lying in the bed.
MARTY (FEMALE): Your world offers pleasures - pleasures we don't know because we're different. But you know that now. The others will punish me for what I've done. They'll find me, because the day is coming and they won't leave without me.
Mulder and Scully have arrived on the floor and run down the hallway. Scully finds the room first.
SCULLY: Mulder!
Mulder runs to the door and they draw their weapons and take positions. Mulder knocks on the door.
MULDER: Delivery!
There is no answer. Mulder signals that he's going to break in and Scully steps in front of the door.
MULDER: breaking in door FBI! FBI! Clear! Stay down!
They don't see anyone inside. Scully goes into the adjoining room and finds the man on the bed.
SCULLY: Dead body!
Marty, who was hiding behind a curtain, emerges and hits Scully on the head from behind. She groans and falls to the floor. Marty runs back out into the hall.
MULDER: Scully?
SCULLY: from the floor, weakly I'm OK.
Mulder runs out into the hall. He finds the next door open and starts to enter. From inside, Marty strikes him in the face, knocking him to the floor in the hall. As Mulder watches, the female Marty morphs into a male. Mulder reaches for his gun, but the male Marty kicks him in the face, kicks the gun down the hall and runs away, wearing only socks, a sweatshirt and underwear.
Back in the first room, Scully gets up and runs into the hall, seeing Mulder lying there, dazed.
MULDER: groggily Scully. Down the stairs ...
She jumps over him and down the stairs at the end of the hall. She bursts out into the alley below but doesn't see anyone. As she moves through the alley, she hears a noise and sees shadows appear on the side of one of the buildings. Suddenly, the male Marty runs toward her.
SCULLY: Federal agent, I'm armed! Marty stops Back away!
Suddenly, Marty is tackled by a figure dressed in black. He is surrounded by the Kindred, including Brother Andrew. They get him to his feet.
SCULLY: Step away! Step away!
Andrew turns to Scully and walks toward her, while the others hold Marty behind him.
BROTHER ANDREW: Please. Don't hurt him.
SCULLY: No. Step away.
Andrew continues to approach her.
SCULLY: I'm armed.
Andrew continues to block the others from Scully's line of fire. As he gets close, she starts to lower her gun. Mulder comes out of the hotel and into the alley.
MULDER: Scully!
Scully turns to him, and Andrew knocks her gun out of her hand, then strikes her in the face. She falls. As Mulder runs to her aid, shadows on the building wall move away and the Kindred disappear as mysteriously as they appeared.
Later, there are police cars in the alley and an agent approaches Scully and Mulder.
MULDER: What if they did get through? There's only place they'd hide.


SCENE 15

THE KINDRED PROPERTY NEAR STEVESTON
The next morning, several 4-wheel drive police vehicles approach. Mulder, Scully, the agent and others emerge and start to search the area. Scully heads to the house and finds no one in the dining area.
SCULLY: They're gone.
Mulder has run to the barn and opens the door to the cellar. He finds a solid clay wall behind it. The agent approaches from behind.
AGENT #2: We found something in the hayfield.
Mulder and Scully are walking through the hayfield.
SCULLY: I don't understand. How can they just disappear? They have no means of transportation.
MULDER: No earthly means of transportation.
They come to a large "crop circle" in the field.
 


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