The characters, plotlines, quotes, etc. included here are owned by Chris Carter and 1013 Productions, all rights reserved. The following transcript is in no way a substitute for the show "The X Files" and is merely meant as a homage. This transcript is not authorized or endorsed by Chris Carter, 1013 Productions, or Fox Entertainment. It was painstakingly typed out by CarriK and made available for your personal enjoyment by me, DrWeesh from my website, The X Files Transcripts Archive

(NOTE: For this particular transcript, on-screen Cops-style graphics are denoted by GREEN TEXT.)

FOX PRESHOW WARNING VOICEOVER AND GRAPHIC: The following is a special episode of the "X-Files." Viewer discretion is advised.

(Episode is filmed completely in the COPS TV show style. Many very nice people watch and enjoy COPS. For those of you fortunate enough never to have seen an episode of COPS: A camera crew consisting of a camera man and a sound guy get in the back seat of a police car and follow along with the officer or officers for the duration of their shift filming EVERYTHING with a single handheld video camera. The effect is a video that is badly lit, shaky, and often hard to see and hear. The officers are for the most part NOT actors as evidenced by their rambling monologues to the camera. They are usually in a high crime area filled with criminals and crack whores who DON'T want to be on camera. There is usually a lot of screaming and cursing in many languages. If they decide that the evening is interesting enough for the masses, FOX edits the video, blurs out some faces and any bare sexual anatomy, "bleeps" out curse words, and sells advertising. Then, lucky us, on Saturday night they broadcast the results to us, the viewer. Episode opens with the classic reggae COPS theme song, "Bad Boys." The video consists of clips from the upcoming show set in LA as evidenced by the famous Hollywood sign. Looks just like the opening of COPS, except for a familiar tall dark-haired man and short red-haired woman who are also present in some of the shots.)


Bad Boys whatcha want, whatcha want?
Whatcha gonna do when Sheriff John Brown come for you?
Tell me, whatcha gonna do? Whatcha gonna do?
Yeah Bad Boys, Bad Boys whatcha gonna do?
Whatcha gonna do when they come for you?
Bad Boys, Bad Boys whatcha gonna do?
Whatcha gonna do when they come for you?
Nobody naw give you no break
Police naw give you no break
That soldier man naw give you no break
Not even you idren(?) naw give you no breaks
Bad Boys, Bad Boys whatcha gonna do?
Whatcha gonna do when they come for you?
Bad Boys, Bad Boys whatcha gonna do?
Whatcha gonna do when they come for you?

COPS ANNOUNCER: Cops is filmed on location with the men and women of law enforcement. All suspects are innocent until proven guilty in a court of law.


(Shot of full moon over Los Angeles pans back down into a car. Camera crew is in OFFICER KEITH WETZEL's patrol car. He is young rookie officer. The cameraman is in the passenger seat. They are driving through a low-income neighborhood.)

WETZEL: I don't know what it is about a full moon. It's just something about it. People just go off the wall. I mean, these are some pretty scary neighborhoods to begin with.

WETZEL: I haven't been on the job that long myself but I've seen more than my fair share of crazy stuff. When the moon is full, it's just like times ten. I don't know, uh... I don't know. Maybe it's the tides or something. But irregardless, we're on the job and if that makes people breathe a little easier knowing we're out there. Be a little less nervous walking the streets at night, well, that's, that's a good feeling.

(The radio beeps and WETZEL looks at the readout on the cars dashboard computer. )

6:48 PM

WETZEL: Okay, we got a report of somebody lurking around the neighborhood making noise. Actually, I take that back. We got a report of a... "monster" lurking around the neighborhood? What the ...? (He looks into the camera and shakes his head.) Hey, it's a full moon. (car speeds up) A lot of drug activity in this district. We're probably looking at somebody rattling doorknobs trying to steal some money for a quick fix. Usually they're not the stealthiest of criminals so maybe we'll get lucky and sneak up on 'em.

(He pulls up in front of a house.)

WETZEL: (on radio) 2-12 Adam is 10-97.

DISPATCH: 2-12 Adam is 10-97 at 543 local.

(WETZEL and the camera crew get out of the car. WETZEL gets out his flashlight and looks around the area in front of the house and over the fence. He sees nothing and speaks quietly into his radio.)

WETZEL: 2-12 Adam to dispatch. I don't see anything. Can you let the lady inside her house know I'm out here?

DISPATCH: 2-12 Adam, copy your request. Calling now.

(WETZEL enters the fence and looks around the yard with his flashlight. He shines the light at a small cat.)

WETZEL: Think he was doing it? (waves the cat away) Psst!

(The cat wanders off. WETZEL goes up to the front door which has five large scratches near the doorknob. He shows them to the camera crew.)

WETZEL: A lot of scratches. Maybe a big dog. That's probably what she saw.

(WETZEL knocks at the door with his flashlight.)

WETZEL: Sheriff's Department.

(We hear a woman breathing heavily, she is terrified. A Hispanic woman, MRS. GUERRERO, opens the door a crack leaving the chain on. She speaks very rapid Spanish.)

MRS. GUERRERO: Is a claw monster! Mira... Matenlo! Matenlo! (Look ... Kill it ! Kill it!)

WETZEL: Calmate! No monstruo... (Calm down. It's not a monster.)

MRS. GUERRERO: It's a monster!

(She slams the door shut again.)

WETZEL: Senora!

MRS. GUERRERO: (from behind the door) Buscalo! (Look at it.)

(WETZEL turns back to the camera. He is nervous, but playing cool.)

WETZEL: Man, scared of something.

(He begins looking around the yard again. From behind the house, we hear a loud bang. WETZEL immediately runs around back.)

WETZEL: Hey, you there! You! Freeze! Sheriff's department! Freeze! Sheriff's department!

(The camera follows more slowly, taking time to film all the junk in the yard including a sink. We can hear WETZEL, but we can't see him. There is a loud clattering, then WETZEL comes tearing around the corner toward the camera crew, ala Han Solo pursued by the Storm Troopers in Star Wars. He is terrified, pushing the crew back.)

WETZEL: Run, run! To the car! Back to the car now! Now! Run! Run, *bleep* damn it, run!

(View of dirt. The cameraman has tripped and fallen down. WETZEL pauses briefly to help him up.)


WETZEL: Now, now! Come on! Get up! Get up! Back to the car! Come on! Run, run! Get in the car! Get in the car!

(They are running to the car, panting loudly.)

CAMERAMAN: Holy ( bleep )!

WETZEL: Come on!

(Sound of panting as the crew gets in the back seat. WETZEL slams the door closed and gets back on the radio.)

WETZEL: (yelling on radio) 10-33, 10-33, 2-12 Adam needs assistance...

(Loud crash as the windows of the car are smashed in. Camera frantically pans around seeing nothing.)

WETZEL: (yelling on radio) I need assistance at the 500 block of Vogel! I need assistance! Ah! 999! 999... 9...!

(WETZEL keeps screaming as the car is violently flipped over. Stuff falls everywhere. The camera goes to static, then into ...)



(Sound of sirens wailing as other police cars arrive at the scene. Camera is working again as our cameraman climbs out of the back seat of the overturned police car. Other police run up as WETZEL, groaning, gets out. WETZEL's forehead is bleeding. A no-nonsense African-American woman, SERGEANT DUTHIE, is in charge.)

SERGEANT DUTHIE: Everybody all right? (to camera crew) Hey, you all right? You all right? *Bleep*, Keith. What was this?

(WETZEL is very nervous, very aware of the camera. There is something he is not telling.)

WETZEL: I was responding to a 921 at this house right here and... there was a prowler call and, uh ...

SERGEANT DUTHIE: You flipped it?

WETZEL: No, no. Hell, no, I didn't flip it. (glances at camera) It was... We were parked. The... we were attacked.

SERGEANT DUTHIE: By who? By gangbangers?



WETZEL: Yeah, I mean yeah, it was gangbangers.

(SERGEANT DUTHIE turns to the rest of the officers.)

SERGEANT DUTHIE: Okay, fan out and search.

WETZEL: (urgently) Hey, Sarge, you better double everybody up.

SERGEANT DUTHIE: Hold on a minute. Everybody double up. Set me up a command post and check on that airship. (She turns back to WETZEL.) How many?

(He doesn't answer.)


WETZEL: You know, I didn't get a good look. Maybe...

(Radio interrupts.)

DISPATCH: (on radio) 417, suspects on foot just one block north of Holly!

SERGEANT DUTHIE: (yelling to the others) Armed suspects! Bring some units around on Holly Street!

(Sound of sirens wailing as several cars and many officers on foot run one block and around the corner back to MRS. GUERRERO's house. By the time the crew gets there, the officers have a man and a woman surrounded. It is MULDER and SCULLY. They have their hands up. MULDER is in jeans and leather jacket. SCULLY is Scully!Casual in some type of black pantsuit with tight black t-shirt and jacket. Lots of yelling and confusion and guns waving around. MULDER and SCULLY's guns are on the ground.)

OFFICER: Get your hands up!


OFFICER: I don't care! Get your hands up!


OFFICER: Turn around! Turn around!

(MULDER and SCULLY turn their backs to the officers.)

MULDER: I got I.D. In my back pocket.

SCULLY: We're investigating a case!

MULDER: Check the I.D.!

(All the officers are yelling.)

OFFICERS: Behind your head!

(MULDER and SCULLY put their hands behind their heads.)

MULDER: Check my I.D. in the back pocket.

(SERGEANT DUTHIE frisks MULDER, a male officer frisks SCULLY. Hmm. SERGEANT DUTHIE looks at MULDER's ID.)

SERGEANT DUTHIE: Hold it, they're FBI! Give 'em back their guns!

(SERGEANT DUTHIE hands MULDER back his badge. The camera is now very interested in MULDER and SCULLY.)

MULDER: Thank you.

SCULLY: We're investigating a case.


MULDER: Same case you're working on.

SERGEANT DUTHIE: So who we looking for?

MULDER: Not who, what.

(MULDER and SCULLY notice the camera crew. A "What the hell?" expression is on their faces. Very funny.)

SCULLY: Mulder, what the hell is going on here?

MULDER: I don't know.


(MULDER shows SCULLY the five long scratches on the door.)

MULDER: See the claw marks here? Someone tried to get in.

(MULDER and SCULLY go over to where WETZEL is being treated by an EMT in the back of an ambulance. Camera follows. SCULLY stays back, out of the camera's range.)

MULDER: Deputy? Deputy, can you describe for me what you saw?

WETZEL: (aware of the camera) Um, I mean, it was pretty dark. Umm. I didn't really see. I don't know. I don't know.

MULDER: Well, you must have seen something in order to run away from it, huh? You were responding to the same call we were-- of a monster prowling the neighborhood.

SERGEANT DUTHIE: We've been to this house before. The lady has a history of medication. Know what I mean?

(SCULLY realizes that the camera can see her and ducks quickly behind the tinted rear window of the ambulance.)

MULDER: Yeah, maybe, but she's not the only one seeing monsters. There's been half a dozen such sightings in this area in the past 60 days. Were you aware of that?


WETZEL: No. I mean...

MULDER: Yeah. Also, these sightings only occur on nights when there's a full moon which tells me something.


MULDER: What you saw was large, right? Maybe seven, eight feet tall when it stood up on its two legs? And it was covered in fur and had glowing red eyes and claws...

(MULDER has his hands up in a menacing clawlike gesture. SERGEANT DUTHIE is staring at him in disbelief.)

MULDER: Claws sharp enough to gouge the wood off that front door.

SERGEANT DUTHIE: You're not serious.

(SCULLY is watching MULDER, her arms crossed. The camera focuses on her. She ducks behind the tinted window again.)

MULDER: And dare I forget teeth. It bit you, didn't it? (grabs WETZEL's wrist) Look at that. Deputy, how long were you going to hide that from the E.M.T.S?

(SERGEANT DUTHIE looks at the red marks on WETZEL's wrist.)

SERGEANT DUTHIE: Where did you get that, Keith?

(SCULLY comes forward to look at the wounds then retreats again.)

WETZEL: I don't even know where that came from.

(Loud crash as the car is flipped back over.)

WETZEL: I mean, I didn't see anything that he's talking about.

SERGEANT DUTHIE: Big teeth, eight feet tall? What the hell are you describing?

MULDER: (confidently) A werewolf.


MULDER: (points to the wrecked police car) It's what did that. It also attacked one Hyman Escalara 29 days ago during the last full moon. Hyman died of his wounds in Compton General Hospital but not before giving a detailed description of what attacked him. My partner and I are here to catch it.

(Camera back to SCULLY who turns her back with her hand covering her mouth.)

MULDER: Unfortunately though, Deputy, you've been bitten. The skin is broken. Werewolf lore pretty much universally holds that someone who's been bitten by such a creature is going to become such a creature himself, so...

WETZEL: Wait a minute. I mean, that's not what really happened, though.

MULDER: I'm sorry, but you're going to have to be isolated and kept under guard.

SERGEANT DUTHIE: With all due respect what the *bleep* are you talking about?

MULDER: I'm talking about preventing this man from becoming a danger to himself and to others.

SERGEANT DUTHIE: Can I see your badge again?

SCULLY: (smiling sweetly) Agent Mulder, can we have a word a second.


(He lets SCULLY lead him a few feet away. The camera follows.)

MULDER: What is it?

SCULLY: "What is it"? Mulder, have you noticed that we're on television?

MULDER: I don't think it's live television, Scully. She just said *bleep*.

(The camera is right beside them again.)

SCULLY: But it's a camera and it's recording.

(SCULLY glares at the camera and pulls MULDER farther away. The camera follows.)

SCULLY: It's recording everything that you are saying. Do you understand that? I just want to make sure that you're clear on that.

MULDER: I'm clear on that, Scully.

SCULLY: My point being, Mulder, that we're on a case.

MULDER: This presents an opportunity. I feel we're very close here. The possibility of capturing concrete proof of the paranormal? Of a werewolf in front of a national audience, even an international audience? What's not to love?

SCULLY: Wh ...

(SCULLY realizes MULDER is looking at the camera which is right beside them again. Frustrated, SCULLY glances back again and pulls MULDER back the way they came. They are standing very close.)

SCULLY: Look, Mulder, you want to talk about werewolves to me you can knock yourself out. I may not agree with you but at least I'm not going to hold it against you but this... Mulder, this could ruin your career.

MULDER: (laughing) What career? Scully, I appreciate it. You don't want me looking foolish. I do. I appreciate that.

SCULLY: I don't want me looking foolish, Mulder.

(Sounds like the CAMERAMAN chuckles. MULDER looks at her a moment, aware of the camera once again right beside them.)

MULDER: Okay, fine. Well, do me a favor. Will you escort Deputy Wetzel to the hospital? Just keep an eye on him in case I'm right? Thank you.

(Without waiting for an answer, MULDER pats her on the shoulder and starts into the house.)

SCULLY: I'm gonna call Skinner, Mulder.

MULDER: (unconcerned) Okay.

SCULLY: I'm sure he's going to want to say a couple of words about this.

(As MULDER enters the house, SCULLY dials her cell phone. The camera gets very close to her. She looks at them.)

SCULLY: Guys, give it a rest, huh?

(They don't leave. SCULLY places her hand over the lens.)


(Inside MRS. GUERRERO's house. One of the pictures on the wall is different depending how you view it. It fades from Jesus to the Last Supper. MRS. GUERRERO is still hysterical. An officer, DEPUTY JUAN MOLINA is trying to talk to her.)

MRS. GUERRERO: Por favor, me tiene que creer. Lo vi con mis propios ojos. Mire, paso por ahi. Yo lo vi. Paso por ahi, por la ventana. Lo vi por la ventana de mi cocina. [Please, you have to believe me. I saw it with my own eyes. Look, it passed over there. I saw it. It passed over there at the window. I saw it from my kitchen window.]

Deputy Juan Molina

(Both MRS. GUERRERO and DEPUTY JUAN MOLINA are talking at the same time. She is hysterical.)

MRS. GUERRERO: Por favor, hagan algo. [Please, do something.]

DEPUTY JUAN MOLINA: Calmese. [Calm down.]

MRS. GUERRERO: No me digan que me calme. Hagan algo, por favor [Don't tell me to calm down. Do something, please.]

(DEPUTY JUAN MOLINA turns back to MULDER and the other officers.)

DEPUTY JUAN MOLINA: She says... I guess she's calling it a "claw monster" ... was trying to break into the house and get her. It was big and had claws pretty much. She's going on and on.

MULDER: Yeah, all right. Tell her to describe it in detail to the sketch artist. Will you work with her?

(RICKY THE SKETCH ARTIST is a white twenty-something guy with fuzzy dreadlocks.)

RICKY THE SKETCH ARTIST: (dubiously) "Claw monster"?

SERGEANT DUTHIE: Just do it, Ricky.


(RICKY THE SKETCH ARTIST goes to sit at the table with MRS. GUERRERO and DEPUTY JUAN MOLINA. Two cats are eating on the table.)

(MULDER goes back to the scratches on the door.)

MULDER: Look at that. Excuse me. Look at this. It's like five claw marks. Just like the human hand has five fingers. Pretty much the same spread, too.

(MULDER places his hand over the marks, lining up his fingers.)

SERGEANT DUTHIE: Agent, you seriously believe we're looking for some kind of a...?

MULDER: I'll show you. This... this is what Hyman Escalara described just before succumbing to his injuries.

(MULDER unfolds a sketch of a werewolf from his jacket pocket.)

MULDER: Ten to one that's what Mrs. Guerrero's going to describe, too.

(DEPUTY JUAN MOLINA speaks some Spanish, then calls to MULDER.)

DEPUTY JUAN MOLINA: Sir? Sir? We got your suspect.

(RICKY THE SKETCH ARTIST has finished the drawing. He rips it out his notebook. It is a representation of Nightmare on Elm Street's Freddy Kreuger, complete with the knives on his fingers. MRS. GUERRERO points to the picture.)

MRS. GUERRERO: Claw monster. Claw monster.

DEPUTY JUAN MOLINA: Claw monster. Boy, you know, they kill him in every movie and he just keeps coming back. (chuckles and heads for the door.) I'm sorry.

MULDER: (looking at the drawing) This is strange.

SERGEANT DUTHIE: (impatient) Gracias, Mrs. Guerrero. (to MULDER) We're looking for gangbangers.

(MULDER wants to talk to her, but she walks away.)

RICKY THE SKETCH ARTIST: (very nervous) You don't think it's some guy dressed up like Freddy Krueger, do you?

(MULDER shrugs.)

RICKY THE SKETCH ARTIST: Can somebody walk me to my car? It's dark out and I'm parked up the street.

DEPUTY JUAN MOLINA: Come on, Ricky, I'll walk you to your car.

RICKY THE SKETCH ARTIST: Can I return this vest later?

DEPUTY JUAN MOLINA: Yeah, you can return the vest later, Ricky.

MULDER: This is what she was seeing?

DEPUTY JUAN MOLINA: That's what she's saying. That's the claw monster, man.

(The other officers have left the house. MRS. GUERRERO stops MULDER at the doorway. She is pleading.)

MRS. GUERRERO: You catch?

MULDER: Catch him?

MRS. GUERRERO: (sobbing) Si, si. You catch.

(MULDER nods, not knowing what else to do.)

8:41 PM

(Sound of winch whirring as WETZEL's car is loaded onto a tow truck. SCULLY drives up followed by a police car. She gets out.)

MULDER: How's Deputy Wetzel?

(SCULLY is subdued, not looking at the camera. She nods back to where WETZEL is getting out of the patrol car.)

MULDER: You let him get released?

SCULLY: Well... those weren't teeth marks, Mulder. They turned out to be insect bites...


SCULLY: Individual welts or stings of some sort. Together, they just looked like a larger pattern especially when we want them to... (peripherally glances at the camera) ... although it was an understandable conclusion that I'm sure anybody would have made.

(MULDER looks down at her and begins to smile.)

MULDER: (grinning) So, what did Skinner say?

SCULLY: He said that the FBI has nothing to hide... and neither do we.

MULDER: Well, if it makes you feel any better, Scully, I'm not entirely convinced that we're looking for a werewolf anymore.

SCULLY: (surprised) Oh. All right, good.

MULDER: No, something else. I'm not sure what. Some other kind of creature, though. That I'm sure of.

(Camera jerks away briefly at the sound of activity nearby. MULDER stops an officer running past them.)

MULDER: Hey, hey, hey, what's going on?

OFFICER; Six blocks from here-- could be what we're looking for.

DISPATCH: (on radio) 800 block of Belmont.

(MULDER and SCULLY run to their car. As SCULLY is getting in the passenger side, the camera crew starts to get in the back seat. SCULLY stops them by slamming the back door closed again. She glares at them.)

SCULLY: No. You go with someone else.

DISPATCH: (on radio) We have a 9-29, man down on the corner of Belmont and Fisher.


(They all make their way to the scene. SCULLY runs up to the front. RICKY THE SKETCH ARTIST is lying in a crumpled heap in front of a closed liquor store. He has five slash marks across his chest.)

SCULLY: Guys, watch out. I'm a doctor.

DEPUTY JUAN MOLINA: Oh, man, it's Ricky.

(SCULLY gingerly presses at the unconscious RICKY THE SKETCH ARTIST's chest. Blood seeps out of the wounds. Even the vest didn't protect him.)

MULDER: That's what I was afraid of, Scully.

(Fade to a grainy image of the X-Files logo lit by police lights.)


(Another shot of the moon. RICKY THE SKETCH ARTIST is on a stretcher. He is being loaded into an ambulance. WETZEL is talking to the camera.)

WETZEL: Well, when a fellow officer goes down in the line of duty or even if this... or even if it's not a fellow officer-- if it's just somebody working part-time with the department in a, uh, support, um... a-arti-artistic capacity, uh, like R... like Ricky, there-- we all feel it. Uh... Back there is every cop's worst nightmare... But that's when you got to cowboy up and give 150%... catch the bad guys.


(MULDER and SCULLY are looking around the area where RICKY THE SKETCH ARTIST was wounded.)

SCULLY: Last call from this phone was made to the Road Club-- Ricky Koehler requesting roadside assistance for his flat tire. He asked them to hurry. He said he didn't feel safe.

(SCULLY notices that MULDER is looking at the sketch of Freddy Kreuger.)

SCULLY: What's that?

MULDER: Our suspect, apparently.

(SCULLY laughs shortly and glances at the camera.)

MULDER: Slash marks match up pretty well, wouldn't you say?

(SCULLY finds a fake pink fingernail on the ground.)

SCULLY: Somebody lost a nail.

MULDER: Nice color.

SCULLY: Check out this color, Mulder-- blood red.

MULDER: (to the other officers) Hey, uh... who called 911 on this?


(Later. SERGEANT DUTHIE knocks at a door. Other officers and MULDER and SCULLY are with her.)

SERGEANT DUTHIE: Hey, Steve and Edy-- Sergeant Paula.

MULDER: *The* Steve and Edy?

(MULDER smiles at SCULLY.)

SERGEANT DUTHIE: (smiling) They're good folks. They usually call us if there's trouble in the neighborhood.

(STEVE and EDY answer the door. They are both VERY gay, black men in their 40s. STEVE is a little shorter and seems a little "tamer" than EDY. EDY is very feminine and very excited to see the cameras. MULDER has trouble not laughing throughout the scene.)

STEVE: Ooh...

EDY: Oh, my God, look at this. Look at all these people, Lord.

SERGEANT DUTHIE: (friendly) How are you two doing this evening?

STEVE: Uh, uh, we're fine.

SERGEANT DUTHIE: Can y'all tell us what happened out here this evening?

EDY: Not with me looking like this, mm-mmm. Now, you should know better than that, Sergeant Paula.

(EDY runs back into the house.)

STEVE: Like she going to run from a camera. Lookit here... we heard all this screaming. Peeked out the window and this boy with crazy hair was having a conniption fit all rolled up there by the phone.

SCULLY: You didn't see his-his attacker?

(STEVE is looking approvingly at MULDER/DUCHOVNY.)

STEVE: Mmm... Mm-mmm.

(MULDER/DUCHOVNY smiles. EDY comes to the door. He is now wearing a turban and brightly colored robe.)

EDY: (dramatically) I'm ready for my close-up.

STEVE: Oh, ain't nobody care about your scabby ass. (pats MULDER's shoulder) This is police business. Now, I didn't see... (to SCULLY) What you say-- "attacker"? No, he was just kind of all rolled up and yelling.

EDY: (playing for the camera) Mm-hmm. Mmm

(MULDER shows them the pictures of the werewolf and Freddy Kreuger.).

MULDER: Did you see anything... that looked like this?

STEVE: Ooh, stop.

MULDER: Or this?

STEVE: Ooh, excuse me?

EDY: That's going to give me nightmares.

SCULLY: So, you didn't see anything at all?

EDY: Mm-mmm, no, mm-mmm.

SCULLY: Did you, uh, did you see a woman?

(SCULLY holds up the bagged fingernail.)

EDY: Mmm... M...

BOTH: Mm-hmm.

EDY: Chantara. I know that skanky-ass color anywhere.

STEVE: Sure do. Chantara.

EDY: Mm-hmm.

SERGEANT DUTHIE: Chantara the streetwalker?

EDY: Mm-hmm.

STEVE: She work the corner.

EDY: Mm-hmm.

STEVE: She on the pipe...

EDY: Oh, yeah.

STEVE: So, we don't associate, you know what I'm saying?

EDY: Mm-mmm, mm-mmm, no.

MULDER: (trying not to laugh) Well-well, we should may... we should go tal... we'll go talk to Chantara, then.

STEVE: Well, I wish you would. Mm-hmm. Yeah, that's right. Mm-hmm.

(The officers and MULDER and SCULLY leave. The camera stays a minute with STEVE and EDY.)

EDY: Hey, hey... When am I going to get my own TV show? (singing) If I didn't care ...

STEVE: Oh, she's showing off now.

EDY: (singing) ... more than words can say

STEVE: (pushing EDY back into the house) Stop. Get in the house. Stop. Get back.

EDY: (singing) If I didn't care

STEVE: (to camera) Would you excuse us? Excuse... Stop it.

EDY: (singing) Would I feel this way?

STEVE: Bye, y'all. Bye.

(STEVE gets EDY inside and closes the door.)


(Camera crew is in the back seat of MULDER and SCULLY's car as they drive slowly through the neighborhood. MULDER hands SCULLY the blurred picture of CHANTARA GOMEZ.)

MULDER: So, apparently, we're on the lookout for someone whose hair matches her fingernails-- bubblegum pink. (smiles and glances over at SCULLY) That'd be a good color for you, Scully.

(A pause. She glances at the picture and sets it on the dashboard. Her lack of response speaks volumes.)

MULDER: (over his shoulder to the camera) I'd have to say that at, uh, this point in the investigation I'm-I'm usually a little more secure in-in what it is we're actually investigating but we've had so many conflicting eyewitness reports that it's-it's hard to ascertain exactly what it is we're looking for... (Pause. Camera focuses on MULDER's fingers tapping the steering wheel. Fuel gauge is low.) But the crimes we are investigating are-are paranormal. Uh, I can say that... with absolute conviction um, an-and the nature of these crimes they're-they're-they're notoriously hard to quantify on any kind of regular scientific level as Agent Scully will tell you.

SCULLY: (dryly, not looking up) Oh, yeah.

MULDER: Yeah, which-which in it... in it... in its own way i-is a... is a kind of a validation if you think about it, in and of itself, uh, but-but, you know, that's-that's our job. That's why they pay us the big bucks.

(SCULLY sees a streetwalker, CHANTARA GOMEZ, running unsteadily down the street. She is wearing a pink shirt, pleather miniskirt, fishnet stockings, very high heels and a faux fur jacket. She also has very long, very pink hair.)

SCULLY: Bubblegum pink.

(They pull up close to her.)

SCULLY: Don't run! FBI.

MULDER: Chantara Gomez? Chantara Gomez.

SCULLY: FBI. Chantara! Go...

(MULDER chuckles at the way poor CHANTARA GOMEZ is running in her heels. They get out of the car and go to her, followed by the camera crew.)

SCULLY: Don't run. It's okay. It's okay. It's all right.

MULDER: Chantara Gomez?

(CHANTARA GOMEZ is crying and shaking. She is afraid.)

SCULLY: Can I see your hands please?

CHANTARA GOMEZ: I didn't do nothing!

SCULLY: May I see your hands, please? It's okay. Let me see your hands, please.

MULDER: Show her your hands.

(CHANTARA GOMEZ cries harder, but allows SCULLY to look at her fingernails, one of which is missing. SCULLY shows her the evidence bag containing the bloody fingernail.)

SCULLY: Earlier this evening, a man was attacked. He was badly slashed and you realize this places you at the crime scene.

MULDER: Fisher and Belmont-- that's your usual hang, isn't it, Chantara?

CHANTARA GOMEZ: Look, I heard screaming, okay? And I went and I tried to help this guy and when I heard the sirens, I just ran away, okay? I didn't do nothing!

MULDER: All right, look, I believe you. I think you saw something. You witnessed something. Tell me what it is.


SCULLY: You can tell us, Chantara.

(She continues to cry.)

SCULLY: Come on, Chantara.

(MULDER speaks gently and tries to stand protectively between CHANTARA GOMEZ and the camera.)

MULDER: Chantara... if you're afraid that what you tell us we're not going to believe it, don't be 'cause whatever it is you saw tonight... whatever it is, whatever you think you saw however strange or terrifying or bizarre, you are not going to surprise me, okay?

CHANTARA GOMEZ: You'll protect me from Chuco?

MULDER: Who's Chuco?

CHANTARA GOMEZ: Mi novio. He's the one who cut that guy up, not me! I didn't do anything!

MULDER: I'm s... I'm sorry, what?

SCULLY: "Mi novio"-- her boyfriend.

MULDER: No, no, I-I got that.

CHANTARA GOMEZ: Look, he's been chasing me for a week, okay? He said he was going to twist my neck off like a little chicken if I didn't give him more money.

MULDER: (to camera) Chuco.

CHANTARA GOMEZ: Chuco Munoz-- the cops know who he is.


11:08 PM

(Street in front of a dilapidated house. Lots of officers getting ready for an assault. In the background is the garbled sound of a radio transmission.)

OFFICER: This is my favorite part of the job-- knocking down crack houses.

WETZEL: I heard that.

(CHANTARA GOMEZ, even more upset now, is sitting in the back seat of one of the police SUVs. SERGEANT DUTHIE is talking to her. SCULLY and WETZEL are with her.)

CHANTARA GOMEZ: I don't understand. I told you everything. Why can't I just go now?

SERGEANT DUTHIE: Chantara. Chantara! First of all, you are not out of the woods yet ...

CHANTARA GOMEZ: I just want to go home.

SERGEANT DUTHIE: ... as far as possible accessory charges.

CHANTARA GOMEZ: Chuco's the one you want.

SERGEANT DUTHIE: So, the sooner we find him and sort this out the sooner, I hope, we can let you go.

CHANTARA GOMEZ: He's going to kill me! He told me he was going to twist my neck off like a chicken.

SCULLY: Chantara, no one's going to kill you.

CHANTARA GOMEZ: (hitting the seat in frustration) He's going to kill me!

SERGEANT DUTHIE: Chantara, look ar... look around you! You see all the deputies here? You see? No one is going to get you. Now, what's more, Deputy Wetzel here is going to keep an eye on you while we go and put the cuffs on Chuco. No one is going to get you.


DISPATCH: (on radio) 76. Roger. 9-1-1 Davidson, 0-9-9-6, checking N.C.I.C.

(SCULLY crosses over to MULDER who is standing beside their car with vests. She takes off her jacket, puts on a bullet-proof vest, then replaces her jacket. SCULLY shows him the blurred wanted flyer for MUNOZ.)

SCULLY: Chuco Munoz, the man himself. Only distinguishing feature is a tattoo on his skull.

MULDER: He's not our guy.

SCULLY: What do you mean?

MULDER: I don't care how bad his rep is, he can't turn over a squad car.

SCULLY: Yeah, well, maybe not by himself but he's probably got friends, right?

MULDER: No, there's something else going on.

(A leaf falls on the car.)

SERGEANT DUTHIE: Let's hit it.

(More garbled radio transmission. The officers break down the door and enter the crack house. MULDER and SCULLY are with them. Mass confusion ensues.)

SERGEANT DUTHIE: Go, go, go! Go, go! Hands above your head! Put your hands above your head! Go, go, go!

(Several stoned individuals are lying around in different parts of the house. Candles lit in nearly every room, trash everywhere. Someone picks up a crying baby. Lots of shouting. Camera moves to a room with a man on his knees, hands behind his head.)

OFFICER1: Have you seen Chuco Munoz?

ANGRY CRACKHEAD; *Bleep* you, mother-*long bleep*!

OFFICER 2: Move it! Move it!

(Someone else arrests a topless woman in the kitchen. Her breasts are, of course, blurred for our protection. More shouting.)

OFFICER 3: Where are they? Put your hands where I can see them. Where I can see them.

CALM CRACKHEAD: Take your *bleep* hands off me!

DISPATCH: (on radio) 2-13 Lincoln, we are...


SERGEANT DUTHIE: Agents? Agents, in here.

(They enter a bathroom. A man with a tattooed, shaved head, CHUCO MUNOZ, is lying dead on the floor. SCULLY examines him.)

SERGEANT DUTHIE: Hey, what happened, huh? Wake up. What happened to your friend in there?

MAN: What's going on?

SERGEANT DUTHIE: Looks like he O.D.'D.

MULDER: Yeah, but how long ago?

SCULLY: Couple of days, maybe a week. He didn't attack Ricky Koehler, that's for sure.

(They hear many gunshots fired outside in quick succession.


(Lots of shouting and more gunshots as they all run back outside.)

DISPATCH: (on radio) 2-12 Adam, be advised that you're a 9-23.

(More gunshots. They reach WETZEL who is firing his gun, obviously terrified.)


SERGEANT DUTHIE: What? What? What? What you got? What you shooting at? What are you shooting at?! Keith, what are you doing?!

(WETZEL looks disoriented.)

WETZEL: It just came back. It was here.


WETZEL: (very upset) It was... It was here. Oh, man. I heard her screaming and I-I-I tried to. I tried to stop it. I swear to you, I tried. I did everything I could do.


WETZEL: I did everything I could do.

(MULDER goes over to the SUV where they left CHANTARA GOMEZ. He looks inside with his flashlight, then walks away. SCULLY follows him.)

SCULLY: What is it, Mulder? What? (she looks in the car) Oh.

(From the position of her blurred face it appears CHANTARA's head has been twisted to the side. Fade to logo.)

SERGEANT DUTHIE: (voice) Call it in.

OFFICER: (voice) 2-12 boy, I have a possible 9-27.


(Later. Outside the crackhouse. Another shot of the moon with a helicopter flying past it.)

SERGEANT DUTHIE: I wish someone would explain to me what the hell is going on here. It just doesn't make sense. Keith Wetzel may be a little green but he is a solid deputy-- a squared-away individual. Nothing could have gotten past him and killed that woman.

OFFICER: There's no sign of what he was shooting at. (shows them a crushed bullet) This was all we found. Nine millimeter. It's our issue.

SCULLY: Where'd you find that?

OFFICER: It was lying in the middle of the street. Doesn't look like a ricochet.

MULDER: Maybe Wetzel hit what he was aiming at. Excuse me.

(MULDER and SCULLY cross over to where WETZEL is standing, his head bowed. Other bullets are marked where they fell.)

MULDER: Hey, Deputy. You ready to talk to me now? You and I both know you saw something. We're way past claiming you didn't.

WETZEL: I only know what I thought I saw.

MULDER: Well, describe it for me.

(WETZEL turns his back to the camera.)

WETZEL: (deep breath) The wasp man.

MULDER: The wasp man?

(Camera swings around to the side of MULDER and WETZEL.)

WETZEL: It's ridicu... (glances nervously at the camera) It's ridiculous. The scary stories my older brother used to tell me when I was a kid about a monster with a head like a wasp and a mouthful of stingers instead of teeth. He said that it would come get me in my sleep and that... and that it would sting me to death. (He rubs his bandaged wrist.)

MULDER: So you're saying that the, uh, the wasp man attacked you both times here, and earlier in the patrol car?

WETZEL: I - I'm not saying that that's what it was, okay? I mean... they didn't see it. (indicates camera crew) It's not on the videotape. This... this can't be real.

MULDER: I think maybe it can. Just... just relax a minute. Excuse me. Scully?

(MULDER walks SCULLY a few paces away.)

MULDER: We came on this case looking for a werewolf, right?

SCULLY: Well, you did, that's correct.

MULDER: Hyman Escalara claimed he was attacked by a werewolf and the wounds that he sustained would seem to bear that out, right? And then, Wetzel over here sees a wasp man with stingers for teeth and he gets a bite mark that you say is irrefutably insect-like, right?

SCULLY: Mulder, that's not exactly... (sighs)

MULDER: And then another eyewitness claims she sees Freddy Krueger. Scully, what if we're dealing with one creature, one entity that, when it attacks, appears to you as your worst nightmare? Fear. Maybe that's what this thing feeds on.

SCULLY: Okay, well, for the sake of this argument...


SCULLY: ...How would one catch something like that?

MULDER: (thinking) Probably by... by figuring out how it chooses its prey. I mean, there... It seems to spread like a contagion, doesn't it? One person's fear becomes the next. There's a definite chain of victims. Tonight it went from Mrs. Guerrero to Wetzel and the sketch artist and then from the sketch artist to Chantara Gomez and then...

SCULLY: Chantara Gomez back to Wetzel.

MULDER: Right.

SCULLY: But you're missing someone, Mulder.


SCULLY: Edy. Steve and Edy. They're a part of this chain, too and, and according to your theory they would have been attacked, right?

(They look at each other.)


11:48 PM

(MULDER is following SCULLY up to STEVE and EDY's front door. He speaks over his shoulder to the camera.)

MULDER: Well, we're back at the home of Steve and Edy. Thought we'd check on them because they seem to fit a victim profile.

SCULLY: (confused) I'm sorry. Are you talking to me?

(MULDER nods with embarrassment at the crew. SCULLY barely glances at them. As they get to the door, they hear screaming from inside. MULDER breaks open the door with his shoulder and he and SCULLY rush in. They run through the beaded doorway into the kitchen and find STEVE and EDY, wearing only underwear, yelling at each other. EDY is in tears and appears to be slashing at STEVE with a knife or scissors. STEVE yells at MULDER and SCULLY.)

STEVE: ...What the hell is this?! What the hell is this?!


(Short time later. Things are quieter. Sort of. EDY is crying and wailing at STEVE who is sitting on the couch. MULDER is standing between them.)

SCULLY: Steve, are you going to be all right?

STEVE: I'm all right.

EDY: Somebody ask me if I'm all right. I'm the victim. I'm the victim here. He don't treat me right. You'd better appreciate me or I'll walk out that door.

STEVE: The hell you would.

MULDER: We're not here to get involved in any kind of personal...

EDY: He treats my mama with disrespect. He treats me with disrespect.

STEVE: Oh, shut up!

MULDER: We're not here to get involved in personal problems.

EDY: (to STEVE) You-- you, shut up.

MULDER: Settle down.

EDY: (sobbing to MULDER) He won't make love to me!

MULDER: (no idea what to say) Oh. Uh...

STEVE: I should have never touched you!

(This sends EDY into another hysterical bout of sobbing.)

EDY: Oh, no! No...

SCULLY: (calmly) Look, you guys, Steve, Edy. The reason why we are here is because we are concerned about your safety. We're concerned about your lives. You witnessed a violent attack right across the street from your house.

STEVE: So you say. I just saw a rolled up boy with crazy hair.

MULDER: Well, take our word for it. Because of your proximity to the attack we think you may be targeted as well.

EDY: Why? Because we called the police?

(MULDER crosses over and tries to calm EDY down. EDY is now seated at the dining room table.)

MULDER: (emphatically) No, no. That's not why. That's not why. I can't really explain it exactly, but it's... I think the key is to remain unemotional, okay? Try to stay calm. Try to keep your heart rate down. Try to keep your adrenaline down. Just try to relax. Just... Oh, you got it. You got it.

STEVE: Good luck!

EDY: (throws his handkerchief at STEVE) Oh, you!

MULDER: I think maybe we should stay up for a little while. Let's just... let's just re-lax.

(EDY is still sobbing. MULDER suppresses a laugh and looks at SCULLY. SCULLY looks resigned and heads for the couch as MULDER sits at the table with EDY.)

MULDER: (perhaps telling himself also) Just relax.

(Camera pans over a smiling portrait of EDY.)


1:32 AM

(Moon shot. Later. STEVE and EDY's house. There is the sound of a toilet flushing and MULDER reenters the room. SCULLY is sitting on the couch looking exhausted. Soundman gets back behind the camera.)

STEVE: Mr. Mulder? Look here. I got to go to bed.

MULDER: How you doing, Edy? You still upset?

EDY: I'm scared.

MULDER: You're scared?

EDY: (sobbing) I'm scared he gonna leave me.

(STEVE gets up and walks over to EDY and embraces him. All is okay and calm.)

STEVE: (to EDY) No, no, no, no.

SCULLY: Think we should take them to a motel?

STEVE: We don't need no hotel. We've been living in this house for 17 years. Ain't nobody going to chase us out.

EDY: Mm-mm.

MULDER: You're not afraid?

STEVE: Now, I didn't say that. I said, ain't nobody going to chase us out.

EDY: Mm-mm.

(MULDER and SCULLY exit the house. Another camera team arrives with WETZEL. SCULLY looks at them with horror.)

SCULLY: Oh, God. More of you?

WETZEL: We any closer to an arrest?

SCULLY: I'm afraid not. Mulder, what next?

MULDER: Well, I'd say we should station a couple of deputies out here but I don't think it's coming back here. We're just playing catch-up with this thing. It doesn't do what you'd expect. And, uh, well, we've got four or five hours till the moon sets. The attacks only occur on the full moon then we're out of luck.

SCULLY: Well, I want to examine Chantara Gomez.

MULDER: For a possible contagion?

SCULLY: Your "contagion of fear"?




SCULLY: But if I can't figure out what this thing was at least I can figure out what it wasn't.

(MULDER, man-in-charge, hands her the car key.)

MULDER: All right. Make it fast. Fill that tank up with gas.

(SCULLY shoulders tense slightly as she heads for the car. This will be discussed later. MULDER turns to WETZEL.)

MULDER: Uh, Deputy, you're the only person who's seen this twice so I'd like to ride with you, if you don't mind.

WETZEL: Let's go.

MULDER: Thanks.

(One of the camera crews gets into the back seat of WETZEL's car with WETZEL and MULDER. The other crew follows SCULLY to her car. There is a pause as she glares at them. She reluctantly says nothing however, and they get in the backseat.)

(Inside WETZEL's car. MULDER's eating, possibly sunflower seeds, while he talks to WETZEL.)

WETZEL: You really believe me, huh? You really believe I saw what I thought I saw?

MULDER: Yeah, I believe you.


MULDER: Why do I believe you?

WETZEL: Yeah. I mean, what proof do you have what I'm saying is real? I mean, it's not... it's not on the video tape.

MULDER: The camera doesn't always tell the whole story.

WETZEL: And what about your partner? Does she believe me?

(There is a pause.)

MULDER: I don't think she thinks you're lying.

WETZEL: Yeah, but what? Maybe I'm crazy? You know, I've been on the job 18 months-- all I ever wanted to do. Right out of the gate, I get some kind of rep like I'm crazy? I mean, you know how cops are. How's somebody supposed to live that down?

MULDER: I don't know. Uh, I guess just do good work.

WETZEL: It's a hard enough job already, you know? You want to help people but it's like the freaking Wild West out here. You know people hate you? Every shift, I go out thinking... (he waves for some pedestrians to cross in front of the car) Go ahead. ...I go out thinking, "You know, there's somebody out there who wants to take me out. Am I going to run into him tonight?" And it's hard to have a fast-track career in law enforcement when everybody thinks you're nuts.

MULDER: Tell me about it.



(Autopsy bay. SCULLY and the CORONER'S ASSISTANT, a nervous woman of about 30, are conducting the autopsy of CHANTARA GOMEZ. The body is blurred. Close up of instrument tray.)

SCULLY: Chantara Gomez, age 31, apparent cause of death is the fracturing of the second and third cervical vertebrae. There are contusions consistent with, uh, choking or throttling uh, by very powerful hands.

CORONER'S ASSISTANT: People are saying her pimp killed her from beyond the grave. (SCULLY gives her a look.) That's the story going around. It's crazy, huh?

(SCULLY picks up the Very Large Camera and begins taking pictures of the body.)

SCULLY: Well, let's see if we can put that story to rest, shall we?

CORONER'S ASSISTANT: The other thing I heard was, uh... something about contagion? Like with this body?

SCULLY: (taking pictures) That's... that's completely inaccurate. This, uh, investigation is... is... We're moving towards an apparent chain of victims and I seriously doubt that we're going to find anything that looks like a contagious pathology here.

CORONER'S ASSISTANT: Because, I mean, if we were we should be taking precautions. If the body could be contagious, you... We're not even wearing masks.

SCULLY: (confident) Look, this is obviously a murder, here. I mean, this woman died of a broken neck, right? Not the hantavirus.

CORONER'S ASSISTANT: (startled) Who said anything about the hantavirus?

(SCULLY is still calmly examining the body, getting irritated with the other woman who is just standing, looking scared.)

SCULLY: Nobody. I just... I was, um... It was a figure of speech.

CORONER'S ASSISTANT: It's just, the reason I asked is why is it so urgent TO DO AN AUTOPSY AT 3:00 in the morning? I mean, that kind of rush-- it's just unheard of.

SCULLY: (examining the body) We're trying to look for the killer.

CORONER'S ASSISTANT: Well, we got murder victims stacked three-deep in the freezer. Plus you got this camera crew reporting everything. Why?

(Long pause as SCULLY looks up at the camera. She smiles "pleasantly," - read "painfully" - the picture perfect agent. The FBI Public Relations department would be proud.)

SCULLY: (to the camera) Because the FBI has nothing to hide.

(She goes back to the body.)

SCULLY: Look, there is no ulterior motive here. It's just... Are you going to help me out here, or what?


SCULLY: Thank you.

CORONER'S ASSISTANT: Why did you mention the hantavirus?

SCULLY: Look, I...

(The CORONER'S ASSISTANT suddenly sneezes twice and looks down at blood on her fingers. Blood is trickling from her nose.)


(The CORONER'S ASSISTANT falls gasping to the floor. SCULLY kneels down next to her. The Camera Crew comes closer. SCULLY yells at them.)

SCULLY: Call 911. Call 911! 911!

(They don't move.)

SCULLY: Get out of here! Come on!

(Fade to grainy logo and ...)


4:41 AM

(Moon shot. Autopsy bay, later. MULDER and SERGEANT DUTHIE have joined SCULLY. Camera shows the blood still on the floor. SCULLY is very frustrated. Her hair looks great, though.)

SCULLY: It's not the hantavirus. It looks for all the world like the hantavirus but I can promise you that it's not. Well, I mean, she-she exhibited all the symptoms-- the hemorrhagic fever, the severe chills, acute shock. But, I mean, the thing is that they all developed in a matter of seconds. And the hantavirus doesn't kill that fast. I mean, no virus in the world kills that fast.

MULDER: You were talking about the hantavirus right before she died? Why?

SCULLY: Because she kept bringing it up. I mean, it was like the power of suggestion, Mulder. She was-she was standing there. She was saying that she was afraid of contagion and then all of a sudden, she just...

MULDER: She was afraid. She was afraid... and her fear killed her in the worst possible way that she could imagine.

SERGEANT DUTHIE: What do you mean by that?

MULDER: It's the same. It's the same M.O. Same as the others. What we've been looking for all night. This-this entity or force somehow vectored off Chantara Gomez to attack this other woman.

SCULLY: No, no, no, Mulder. I was standing right here. I didn't see anything. (indicates the camera) They didn't see anything.

(MULDER comes close to SCULLY.)

MULDER: Yeah, but you weren't afraid.

SCULLY: (softly) The hell I wasn't afraid, Mulder. I don't know what's going on here.

MULDER: (softly) You weren't afraid for your life. Neither were Steve and Edy and it left them alone. Mortal fear: I think that's what it comes down to. This... this... this thing whatever it is, is attracted to that. Everybody who was attacked felt that intensely.

SERGEANT DUTHIE: For * beep* sakes.

MULDER: No, no. It makes perfect sense. (to SERGEANT DUTHIE) You said so. You asked me earlier what would this thing be doing in Willow Park. Well, where else would it go but a high-crime neighborhood? Somewhere where people live behind barred windows and are afraid to go out at night. Where's Deputy Wetzel?

SERGEANT DUTHIE: Back on patrol.

(MULDER exhales nervously.)

SCULLY: Mulder, you were walking around with him for three hours and you didn't see anything ...

MULDER: But I was with him. I was backing him up.

(MULDER starts to leave quickly.)


4:48 AM

(WETZEL's car. He and the other camera crew pull up in front of the crackhouse.)

WETZEL: Like I said, there's something about a full moon. Things definitely get strange. (sighs) Well... we checked everyplace else tonight. Let's check this place again.

(They get out of the car. WETZEL cuts through the crime scene tape on the front door with a pocketknife and they enter the house. WETZEL has his gun out and is breathing heavily. His flashlight starts to go out.)

WETZEL: Ah... Come on. God * bleep* it!

(Sound of loud crashing. All is dark. Loud crash. Door slams shut.)

WETZEL: I'm calling for backup. Get out! Get out, now! Get out!

CAMERAMAN: Don't know how to!

(The front door won't open. WETZEL tries it.)

WETZEL: Let's go! I got it! I got it! Hurry up! Come on! I can't open it!

CAMERAMAN: Oh, God! God! *Bleep*

(Camera goes to static then out.)


(Outside, sound of sirens blaring as MULDER, SCULLY and the others arrive, three in the back seat.)

SERGEANT DUTHIE: There's Wetzel's car.

(They run up to the front door. It won't open.)

MULDER: Wetzel?!

SERGEANT DUTHIE: Get the battering ram.

(Someone goes to get it.)

(MULDER leads SCULLY around to the back of the house. The camera crew follows. Sound of helicopter approaching and a loud banging. SCULLY has her gun out.)

MULDER: That gun's not going to be any good.

(They enter the back door. Banging sound.)

SCULLY: It's the battering ram.

MULDER: Well, how come they're not in yet?

(The door slams shut. They look around nervously.)


MULDER: If you say so.

(MULDER and SCULLY see the closet door handle jiggling. MULDER quickly opens it revealing the other two member camera crew. They scream and wave the microphone threateningly. SCULLY slams the door shut again. Very funny.)

SCULLY: Damn it. I hate you guys.

(SCULLY glares at the cameraman outside the closet.)

MULDER: (through the closed door) Where's Wetzel?

CAMERAMAN: (from the closet) We don't know. There's something out there.

MULDER: Stay where you are.

CAMERAMAN: (from the closet) * Bleep* yeah.

MULDER: Look at this, Scully.

(There is blood on the floor.)

SCULLY: Deputy Wetzel?

SERGEANT DUTHIE: (outside) Agent Scully? You guys need assistance?

(MULDER and SCULLY go upstairs.)

MULDER: Wetzel? Wetzel?

(Inside an upper room, Wetzel is screaming. MULDER is trying to push open the door, but it seems to be blocked by something. Either that, or he's not trying very hard. Maybe his shoulder is still bruised from the door he busted open earlier.)

MULDER: Wetzel?

WETZEL: (in the room, screaming) My God, let go of me! Get off of me!

MULDER: Wetzel?!

WETZEL: (in the room, screaming) Please, help me!

MULDER: (banging on the door) Wetzel, don't be afraid. It can't hurt you! Don't be afraid! That's what it wants. Hello? Wetzel? It can't hurt you! You're a * bleep* Sheriff's Deputy, Wetzel! Don't be afraid now. (glancing at the camera) And you're on national television, so cowboy up!

(MULDER shrugs at SCULLY and continues trying to open the door. WETZEL continues yelling.)


(The door suddenly opens for MULDER at the same time the door downstairs opens.)

MULDER: Wetzel?

(WETZEL is on the floor, alive, but bleeding badly.)

SCULLY: He's alive.

SERGEANT DUTHIE: (downstairs) Deputy Wetzel?

SCULLY: We're up here!

(Other officers run in.)

SERGEANT DUTHIE: *Beep* What happened?

MULDER: (looking out the window) The sun just came up.


(Outside. Dawn. MULDER and SCULLY are standing beside their car as WETZEL is carried out on a stretcher.)

OFFICER: (to WETZEL) Be strong. Hang in there, kid.

(Camera finds MULDER and SCULLY.)

SCULLY: You think the Deputy stopped it whatever it was?

MULDER: Maybe it just went away until the next full moon. I don't know. You've got to figure there's enough fear in the world that if it doesn't show up in Willow Park it's going to show up someplace else.

SCULLY: (sounds disappointed for him) You didn't get the proof that you wanted, Mulder.

MULDER: (pointing up at the camera) Well, hey, you know, it all depends on how they edit it together.

(Begin fade out.)

SCULLY: (voice) It's going to be a hard one to write up.


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