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#805 : Invocation

Titre original:
Invocation

1re diffusion américaine:
03 décembre 2000

1re diffusion française:
/

Réalisation:
Richard Compton

Scénario:
Chris Carter
David Amann

Guest stars:
Kyle Pepi / Ryan Pepi (Billy Underwood), Erich Anderson (Doug Underwood), Kim Greist (Lisa Underwood), Colton James (Josh Underwood), Jake Fritz (Luke Doggett), Maggie Baird (Sharon Pearl), Barry Cullison (le shérif Sanchez), Rodney Eastman (Ronnie Purnell), Sheila Shaw (Marcia Purnell), Jim Cody Williams (Cal Jeppy)...

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Billy Underwood, un petit garçon de 7 ans disparu voilà bientôt dix ans, réapparaît sans avoir en apparence vieilli. Sa mère l'accueille les bras ouverts, mais l'étrange comportement de cette femme inquiète Scully et Dogget. Ce dernier doit, de plus, faire face aux souvenirs douloureux de la tragique mort de son fils...

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Plus de détails

Le 20 septembre 1990, dans une école primaire, plusieurs enfants jouent. Un jeune enfant supplie sa mère, Lisa, qui est enceinte de le regarder, mais elle continue à parler avec son amie. Un autre jeune homme louche regarde Billy (enfant) et son sac ayant des dinosaures dessus. Quelques minutes plus tard, Lisa se tourne vers l'enfant mais celui-ci a disparu. Le jeune homme qui semble louche a le sac de Billy dans les mains.

Acte 1, dix ans plus tard
Toujours à l'école primaire, Lisa va chercher son fils Josh. Les directeurs demandent à la voir. Lisa s'approche. Les directeurs se séparent et laissent voir Billy qui est entrain de se balancer. Lisa approche. Elle est très contente. Elle l'embrasse, mais l'enfant reste très froid. Josh et Billy se regardent, mais aucun sentiment n'est approuvé.

Scully est entrain d'examiner Billy. L'enfant reste muet. Doggett et le shérif surveillent Scully et Billy. Le shérif ne comprend pas, l'enfant devait être adulte maintenant et il n'a que 7 ans. Il a vu les empreintes, c'est bien lui. Scully vient les rejoindre. Elle lui confirme que l'enfant va bien. Monsieur Underwood (Doug) et Lisa s'approchent des deux agents. Ils demandent à entrer, mais Doggett ne veut pas, il désire lui parler en premier. Il prend un sac et entre dans la pièce.

Doggett le rassure et il l'incite à parler de son enlèvement et de son ravisseur. L'enfant dessine et ne regarde pas Doggett. Il veut que Billy lui décrive son ravisseur. Il le rassure en disant que personne ne lui fera de mal. Il sort le contenu du sac : le sac à dos avec des dinosaures. Il demande à l'enfant s'il veut le reprendre, Billy le souhaite, mais Doggett lui enlève, pas avant qu'il ait dit le nom de son ravisseur. Lisa entre, prend son enfant et l'amène.

Scully entre et le dispute de son attitude envers l'enfant. Doggett croit à une anomalie c'est la raison pour laquelle Billy a le même physique qu'à l'âge de 7 ans. Scully n'est pas d'accord, le cas de Billy est intéressant sur le plan biologique. Doggett souhaite comprendre la raison pour laquelle Billy reste muet.

Lisa est excitée et va voir Billy. Doug entre avec Billy. Il lui présente leur chien, Sparky, et Josh, son petit frère. Le chien se met à japper après Billy. Josh et Billy se regardent très froidement.

Scully vient voir Doggett. Elle lui répète que Billy n'a vraiment pas vieilli. Tous les dossiers de voilà 10 ans sont absolument identiques que maintenant. Il a les mêmes dents de lait de voilà 10 ans, les mêmes plaquettes etc. Scully le réfère à un X-Files, mais Doggett ne veut pas entendre cette hypothèse. Scully le répète que l'enfant sort de la norme. Doggett lui montre un dossier, celui de Ronnie Purnell (le jeune homme louche du début). Il a été interrogé par la police voilà 10 ans. L'homme a été interrogé comme étant un témoin. Doggett est certain qu'il est le coupable.

Lisa va voir Billy. Elle embrasse, lui répète qu'elle l'aime et qu'elle est très contente qu'il soit de retour. Aussitôt parti, Billy se lève. Il entend ses parents se disputer. Le père avoue à la mère que Josh a peur de Billy. Pendant ce temps, Billy approche de la chambre de Josh et entre. Il tient un couteau dans ses mains.

ACTE 2
Doggett se rend chez Ronald. Il l'interroge à propos de Billy Underwood. Il lui rappelle que tout l'entourage reconnaît Billy, même si le principal concerné nie l'avoir déjà connu. Il lui demande de venir avec lui. Ils vont rendre visite à Billy pour savoir si le garçon va le reconnaître. Ronnie demande à Doggett de le laisser tranquille et dit qu'il ne croit pas l'agent. John va dans sa voiture et sort une photo d'un petit garçon. Il semble très peiné en regardant l'image.

Lisa va dans la chambre de Billy, mais il constate qu'il a disparu. Elle se rend à la chambre de Josh. Elle voit un couteau dans le matelats du lit, au côté de Josh. Elle se met à hurler ce qui provoque le réveil de Josh. Ils se rendent compte que Billy est dans la chambre

Le shérif révèle à Scully et Doggett que des empreintes ont été relevées sur le couteau et elles appartiennent à Billy. Le couteau n'appartenait pas à la famille. Doggett pense que Billy veut communiquer avec son entourage. John constate un symbole sur le couteau. Voilà 10 ans, un médium les a aidés dans les recherches de Billy et elle a vu le même symbole. Scully se rappelle avoir vu ce symbole. Elle entre dans une pièce, prend la feuille sur laquelle Billy dessinait et la montre à Doggett et le shérif. C'est le même symbole.

Lisa habille Billy. Elle l'incite à parler et à dire ce qu'il sait à la psychologue. Billy se blottit contre sa mère, il ne veut pas y aller. À la sortie de la chambre, Josh et Billy se regardent. Josh est effrayé. Doug amène Billy dans la voiture. Il l'attache et ferme la porte de la voiture. Lorsque Doug entre de nouveau dans sa voiture, il voit que Billy a encore disparu. Il l'appelle, mais personne ne répond. Dans la chambre, Josh se tourne et voit Billy derrière lui.

Marcia (la mère de Ronnie) est là. Son petit-ami (Cal) arrive et se met à agacer Ronnie. Le jeune homme s'en va dans les bois. Plus tard, il s'agenouille au sol et se met à creuser. Il déterre un squelette d'enfant.

ACTE 3
À la résidence des Underwood, la médium de voilà 10 ans est présente. Doug n'est pas vraiment heureux qu'elle soit là. Doug et Josh s'en vont. Lisa et Billy descendent. La voyante regarde Billy attentivement. Elle révèle que de nombreuses forces traversent Billy pour la ramener vers Josh. Ses forces la traverse aussi et elle confie qu'elles va à travers Doggett aussi. Elle révèle à tout le monde que Doggett a perdu quelqu'un aussi, un enfant de l'âge à Billy. Scully en est surprise et le dévisage. La voyante se met à avoir une crise et le symbole du couteau apparaît sur son front.

Cal vient voir Ronnie. Il le menace sévèrement avec une bouteille cassée. Il dit qu'il va tout révéler à la police à propos de ce qu'il a fait au gamin et pourquoi il a creusé une tombe dans les bois. Il le coupe au passage. Ronnie s'enfuit en voiture.

Billy et Lisa entrent dans la maison. Scully et Doggett les observent. Scully rejoint Doggett. Il lui donne des nouvelles de la voyante. Doggett prétend que tout ce qu'a dit la voyante est faux. Scully n'est pas certaine. Elle lui fait écouter un magnétophone de la crise qu'a fait la voyante. Lorsqu'elle le fait écouter à l'envers, on entend une chanson d'enfant.

La voiture de Ronnie s'approche. Doggett et Scully le voient arriver. Ronnie se tourne et voit Billy à ses côtés. Doggett vient frapper à sa fenêtre, il veut lui parler. Il voit Billy sur le siège arrière. Ronnie tente de se sauver en voiture, mais Scully l'intercepte. Doggett l'arrête, mais il ne voit plus l'enfant.

Dans une station d'essence, Josh est là avec son père. Doug va payer. Josh se met à avoir peur. Il sort de la voiture pour suivre son père, mais il est intrigué par une roulotte transportant un cheval. Son maître l'accompagne. Josh s'approche et regarde le cheval. De l'intérieur, une main attrape Josh par le bras. Sur la roulotte, il y a le même symbole qui Billy a dessiné et qui se trouve sur le couteau.

ACTE 4
Ronnie est amené au commissariat. Doggett le regarde. Scully rejoint Doggett. Scully ne comprend pas. Elle est sûre d'avoir aperçu Billy et sa mère entrer dans la maison. Doggett est certain d'avoir vu Billy avec Ronnie c'est la raison pour laquelle il s'est enfuit. Le shérif vient les prévenir que les Underwood sont là. Josh a disparu.

Doggett interroge Ronnie. Il veut savoir pourquoi il était devant la résidence des Underwood. Ronnie ne l'a pas cru lorsqu'il a mentionné qu'il allait revoir Billy. Il s'ennuyait. Doggett veut avoir plus de renseignement. Qu'est-ce qu'il a fait de Billy ? Où l'a-t-il enfermé ? Nous voyons plusieurs flash-back de Billy enfermé dans la roulotte du cheval. Il confie à Doggett qu'il prenait soin de Billy, qu'il lui chantait des chansons pour que l'enfant cesse d'avoir peur. Doggett devine qu'il y a quelqu'un d'autre dans cet enlèvement. Une personne qui lui fait peur. Il veut savoir son nom. Doggett veut le capturer parce que maintenant Josh est en danger.

Plus tard, nous voyons les agents arriver près de la roulotte. Ils entrent. Doggett entre et voit Josh. Il le libère. Pendant ce temps, Scully voit le kidnappeur s'enfuir dans les bois. Doggett le pourchasse, c'est Cal. Doggett demande où est l'autre enfant, Billy Underwood. Doggett se tourne et voit Billy. Lorsqu'il se retourne de nouveau, il a disparu. Il se rend où était situé Billy et il écrase un crâne humain sous son passage. (Note : Voici ce que Billy voulait communiquer à son entourage)

Doggett et Scully sont sur les lieux. Doggett ne comprend pas comment le squelette de Billy peut être là. Scully dit qu'elle le comprend parce que celui-ci ne comprend pas la situation et qu'il veut une meilleure explication que celle-ci. Elle a ressenti les mêmes choses auparavant. John voit les Underwood se serrer l'un contre l'autre.

FIN

Source : X-Files 1013


WEBSTER ELEMENTARY SCHOOL
DEXTER OKLAHOMA

SEPTEMBER 21, 1990

(Elementary school playground. A school festival is going on. First shot is an aerial
view of a large five-armed wheel centered around a pedestal that is turning slowly as
each of the five ponies hitched to the arms walk clockwise. Each has a child on it's back.
A MAN is supervising the "ride." The tune of the lullaby, All the Pretty Little Horses is
underscoring the scene. It is a hauntingly beautiful song, minor. [This was CarriK's
lullaby as a child. Full text of her version of the lullaby is at the end of this transcript.
You can download many versions of it at Napster.] Nearby, a seven year old blonde boy,
BILLY UNDERWOOD, is swinging in the playground area.)

BILLY: Mom! Watch me!

(His mother, LISA UNDERWOOD, is about 11 1/2 months pregnant. She is standing
about 20 feet away, hands resting on her enormous belly, and talking to a friend. She
glances up at BILLY's voice.)

LISA UNDERWOOD: Okay, Billy!

(She smiles and returns to her conversation. A dark-haired, morbid looking teenage boy
is watching BILLY.)

BILLY: Mom! You're not watching!

(LISA UNDERWOOD continues laughing with her friend.)

BILLY: Mom!

(Camera is moving in slow motion. The TEENAGE BOY moves closer and looks at the
cartoon dinosaurs on the back of BILLY's book bag. Amid the crowd of people in the
playground we see BILLY swing into and out of view again, then just the empty swing
seat swings into view. Finally, LISA UNDERWOOD looks back up. BILLY is gone.)

LISA UNDERWOOD: Billy?! Billy?

(She walks over toward the swings.)

LISA UNDERWOOD: Billy! Billy!

(Every parent's worst nightmare has happened. Clutching her belly tightly, she keeps
looking, her voice growing more and more panicked.)

LISA UNDERWOOD: Billy! Billy! Billy!

(No Billy. Nearby, the TEENAGE BOY holds the dinosaur book bag a moment, an odd
look on his face, then drops the book bag to the ground and walks away. LISA
UNDERWOOD, now crying and screaming, continues helplessly looking around the
playground for her son.)

LISA UNDERWOOD: My little boy... My Billy... Billy! Billy!


Opening credits.
Muld … oh, still not back yet.
Scully rocks.
Doggett … Oh, so Manly.




WEBSTER ELEMENTARY SCHOOL
DEXTER OKLAHOMA

TEN YEARS LATER

(Same elementary school is letting out for the day. LISA UNDERWOOD drives up in a
minivan and gets out. On her way into the school, she sees a 10 year old dark-haired boy,
JOSH UNDERWOOD. She is surprised to see him.)

JOSH: Mom!

LISA UNDERWOOD: Hi. Josh. I was just coming in. They know you're supposed to
wait.

(JOSH is not happy about the situation.)

JOSH: They're looking for you.

LISA UNDERWOOD: Who? Who's looking for me? Hey, what is it?

JOSH: Go look, Mom.

(Near the playground, LISA UNDERWOOD sees a group of teachers and school staff.
They are all staring at her. She slowly walks to them.)

PRINCIPAL: Mrs. Underwood, we tried to call you. You must've already left.

LISA UNDERWOOD: What is everyone staring at? What is going on?

(The school staff parts to reveal a small blonde boy swinging on the same swing set we
saw in the teaser. We see him from behind. LISA UNDERWOOD stares at him in
shock, then slowly goes to him.)

LISA UNDERWOOD: Oh... Billy?

(The boy gets off of the swing and turns to face her. It is BILLY, still seven years old,
dressed in the same clothes. His face is serious. He just looks at her.)

LISA UNDERWOOD: My beautiful boy. Billy? Oh... Oh... Oh...

(Softly crying, she kisses his cheek and hugs him. BILLY is looking at JOSH over her
shoulder. JOSH watches, not sure what to think.)

LISA UNDERWOOD: (crying) Oh, Billy.




DEXTER COMMUNITY HOSPITAL
11:02 AM

(In an observation room, SCULLY is examining BILLY. DOGGETT is watching and
listening to them through the glass window. He is holding the ten year old "Missing"
flyer of BILLY.)

SCULLY: I'm just going to shine this light in your eyes, okay? You're doing great.
See? Nothing to it.

(SCULLY turns and looks at DOGGETT through the window. SHERIFF SANCHEZ
joins DOGGETT at the window.)

DOGGETT: He won't speak?

SHERIFF SANCHEZ: No, not even to his parents.

DOGGETT: Are they here, his parents?

SHERIFF SANCHEZ: Oh, they've been here around the clock. I took his prints... It's
him. Boy should be a teenager by now, but look at him. Explain to me how that can be.

DOGGETT: I can't say, Sheriff. I'm just here to find out who took him.

SHERIFF SANCHEZ: I talked to everyone at school and no one saw him come back or
how. The boy just come out of the blue.

(SCULLY comes out of the room and closes the door. Down the hall, two DEPUTIES
are carrying boxes.)

DOGGETT: Are those the case files?

SHERIFF SANCHEZ: Oh, yeah. Plenty more where those came from. There's lots of
files. There's just not much in them. We never even had a suspect.

DOGGETT: (pointing) Have them set them over there, would you.

(SHERIFF SANCHEZ steps away to direct the DEPUTIES.)

SHERIFF SANCHEZ: Set those on that table.

SCULLY: (speaking quietly to DOGGETT) Okay. Well, what we've got here is a
healthy seven-year-old boy who was born 17 years ago.

DOGGETT: And a healthy boy who won't speak.

(LISA and DOUG UNDERWOOD come down the hall to SCULLY and DOGGETT.)

LISA UNDERWOOD: Excuse me? Are you finished with Billy?

SCULLY: Mr. and Mrs. Underwood?

LISA UNDERWOOD: Um, you're with the FBI...

SCULLY: Yes. I'm Agent Scully, and this is Agent Doggett. We are, uh, investigating
this case.

LISA UNDERWOOD: (smiling with delight, looking toward BILLY) It's a miracle,
isn't it?

(SCULLY and DOGGETT look at each other. He steps away.)

SCULLY: Mrs. Underwood... whatever your son has been through, it has somehow
affected his physical condition.

LISA UNDERWOOD: So we've been told by every doctor here. We just want to take
him home. After ten years, can we do that?

(DOGGETT takes a large paper evidence bag from one of the file boxes.)

DOGGETT: Not yet. I want to talk to him first.

(SCULLY is surprised. DOGGETT goes into the room with BILLY and closes the door.
SCULLY and the parents watch through the window.)

DOGGETT: How you doing, Billy? My name's John. I'm gonna have a seat over here,
is that okay? Is that all right?

(DOGGETT sits at the table. BILLY doesn't say anything, just keeps drawing the same
symbol on a piece of paper with a black magic marker.)

DOGGETT: Billy, I want you to know that you're not alone. I've talked to lots of other
boys and girls who've been hurt just like you. Sometimes when they talk about it the hurt
starts to go away. You want to talk about it, Billy?

(No response. SCULLY and the UNDERWOODS are watching.)

DOGGETT: You know, maybe you think bad things happened to you because you've
been a bad boy... but I'm here to tell you, that's not true. The bad guy is the one who
took you away and it's up to you and me to get the bad guy. See, 'cause as big and tough
as I am, I can't do it alone. I need your help. Can you tell me about him, Billy? What's
his name? What did he look like?

(No answer. DOGGETT opens the evidence bag and sets the backpack with the dinosaur
design on the desk.)

DOGGETT: You remember this, don't you, Billy? Would you like to have that back?

(BILLY reaches for the backpack. DOGGETT takes it away again.)

LISA UNDERWOOD: What is he doing?

(SCULLY is at a complete and embarrassed loss for words.)

SCULLY: Uh...

DOGGETT: All I want is his name.

(LISA UNDERWOOD angrily enters the room and picks up BILLY and the backpack.)

LISA UNDERWOOD: Who the hell do you think you are? He's only a little boy.

(She carries him out of the room.)

SCULLY: Mr. Underwood...?

(DOUG UNDERWOOD follows his wife out of the hospital. SCULLY goes to confront
DOGGETT.)

SCULLY: You think this is a game?

DOGGETT: A serious game; one we have to win.

SCULLY: Have you really worked kid cases before, Agent Doggett? Child
abductions?

DOGGETT: I worked the child abduction task force. I know the horror stories, but this
kid can help us.

SCULLY: This isn't just a horror story. This is a biological impossibility.

DOGGETT: Well, that's your area of expertise. I just want to put the person who did
this out of business. Billy just didn't show up. He got away or was let go. And if he can
talk, he can tell us by who. Or he can look at photos in the files and point to the man who
did this so this doesn't happen to some other little boy.

SCULLY: You are ignoring the fact that he is still seven years old.

DOGGETT: Failure to thrive. Isn-isn't that the term? I mean, aren't there diseases that
delay puberty and so on?

SCULLY: I told you... he's not sick.

DOGGETT: Good. Then he can talk.

(DOGGETT turns his back on her and walks away, closing the door behind him.)




(The UNDERWOODS pull up outside their nice suburban house in their minivan. LISA
UNDERWOOD gets out and opens the right-side sliding door. BILLY looks at her.)

LISA UNDERWOOD: We're home, honey. Safe at home.

(DOUG UNDERWOOD opens the other sliding door.)

LISA UNDERWOOD: I'm going to go pay the sitter, Doug. You bring Billy in.

(DOUG UNDERWOOD watches his wife go to the house. BILLY stares at his father.
DOUG UNDERWOOD is uncomfortable. He unfastens BILLY's seatbelt.)

DOUG UNDERWOOD: Are you glad to be home, Billy?

(Inside the house, we see the backyard through a pair of glass doors. There is a
playhouse and JOSH is playing ball with a dog.)

DOUG UNDERWOOD: A lot's new here, son. You have a younger brother now.
Josh. See that big dog out there with him? That's Sparky.

(BILLY shows no interest, just stares at JOSH.)

DOUG UNDERWOOD: Would you like to go play with him?

(DOUG UNDERWOOD starts to open the door. SPARKY THE DOG sees BILLY
standing behind the sliding glass doors, and runs up barking ferociously, snarling, and
trying to get to BILLY.)

DOUG UNDERWOOD: Sparky, stop it! Get down! What's gotten into you? Sparky!
Sparky, hey! What's going on?

(JOSH is looking at BILLY.)

DOUG UNDERWOOD: Hey! Knock it off!

(More barking and growling. LISA UNDERWOOD comes to them.)

LISA UNDERWOOD: What's the matter, Doug?

DOUG UNDERWOOD: I don't know. The dog just went off... Sparky, what is wrong
with you? Come on, let's go.

(LISA UNDERWOOD holds onto BILLY as DOUG UNDERWOOD grabs SPARKY
THE DOG by the collar and drags him off into the yard. LISA UNDERWOOD turns to
BILLY and holds him comfortingly. BILLY doesn't seem upset.)

LISA UNDERWOOD: Honey, it's all right. He just didn't recognize you, that's all.
He's a nice dog, Sparky. He just doesn't realize that you're part of the family.

(BILLY is not looking at her. He and JOSH are staring at each other.)

LISA UNDERWOOD: But you are, Billy and we're just so glad that you're finally
home.





DEXTER COMMUNITY HOSPITAL
9:48 PM

(DOGGETT is reading files in an office. SCULLY enters the room and closes the door.)

SCULLY: You going to sleep here, too?

DOGGETT: What time is it?

SCULLY: I spoke with the doctors who treated Billy. I looked at his charts.

DOGGETT: And what, did you find something?

SCULLY: Yes and no. What showed up is that Billy is the same boy who was taken
ten years ago.

DOGGETT: We know that.

SCULLY: No. I mean the –same- boy. He has no cavities. He has no tooth decay. He
still has four baby teeth that he's never lost. He had a routine blood test six weeks before
he disappeared in 1990. His cell counts, his enzymes, his hormone levels, they are all
exactly the same as they were ten years ago.

DOGGETT: Now how can that be possible?

SCULLY: It's medically impossible.

DOGGETT: So, what's the punch line? Where are you saying he's been?

(Pause. SCULLY looks down for a moment, deciding how to phrase her next words.)

SCULLY: There are … X-File cases that describe similar paranormal findings. Alien
abductees who came back with anomalous medical stats.

DOGGETT: You know, these words: "Anomalous," "supernatural," "paranormal..."
They purport to explain something by not explaining it. It's lazy.

(He drops the file on the table and turns away from her.)

SCULLY: I'm not saying that I can explain it, Agent Doggett, but this is definitely not
normal.

(DOGGETT gets another file.)

DOGGETT: I went back to the witnesses at the crime scene the day Billy vanished, to
this guy, Ronald Purnell.

(DOGGETT shows SCULLY a mugshot of the teenager we saw in the teaser, RONALD
PURNELL. #DSDJ-91 850, about 66 inches tall.)

DOGGETT: He was detained, questioned and dismissed as a suspect.

SCULLY: What's your interest in this guy?

DOGGETT: He's a high school dropout, convicted of possession, arson, and shoplifting
since 1990.

SCULLY: These are juvenile records. These are sealed by the court, Agent Doggett.
We're not supposed to have these.

DOGGETT: And we're at a standstill here.

SCULLY: (angry) Yeah, and you're breaking the law.

DOGGETT: Look, I want to catch this guy, Agent Scully, whatever it takes.

(Tension in the room.)





UNDERWOOD RESIDENCE
10:14 PM

(Barking outside. Inside, LISA UNDERWOOD is tucking BILLY into bed in his old
room, apparently. His eyes are closed.)

LISA UNDERWOOD: We love you so much, Billy. It's so good to have you back-- to
be tucking you in. Sleep tight.

(She turns out the light, leaves the room, and closes the door. Immediately, BILLY sits
up. Creepy music. BILLY goes out into the hall and listens to his parents arguing in
their bedroom.)

[Closed captioning also had: LISA UNDERWOOD: He's asleep.
DOUG UNDERWOOD: Billy or Josh?
LISA UNDERWOOD: Both, but I meant Billy.]

DOUG UNDERWOOD: Of course you did.

LISA UNDERWOOD: What is that supposed to mean?

DOUG UNDERWOOD: It means that you're blind to what's going on here, Lisa.

LISA UNDERWOOD: Ten years we prayed for this. Every night we prayed to God.

DOUG UNDERWOOD: I prayed for our son. That is not the boy I knew, Lisa.

LISA UNDERWOOD: What do you expect him to be? They told us this will take time.

DOUG UNDERWOOD: Even Josh is afraid of him.

LISA UNDERWOOD: He is nothing to be afraid of.

DOUG UNDERWOOD: I wish I could believe that.

LISA UNDERWOOD: How can you sit here and say these things to me? I thought this
would make us both so happy.

[Closed Captioning also had:
DOUG UNDERWOOD: We should have tried to get more answers. We were too
quick to pull him out of the hospital.
LISA UNDERWOOD: We weren't quick enough, Doug.
DOUG UNDERWOOD: For all we know he may need some kind of medical attention.
LISA UNDERWOOD: Don't try to make this sound like you're concerned for Billy.
It's sickening.
DOUG UNDERWOOD: What I'm concerned about is this family. Something is wrong
with him, Lisa.
LISA UNDERWOOD: He is our son!]

(BILLY turns away from their room and walks down the hall. He is holding a large
hunting knife. He opens JOSH's bedroom door, enters, and closes the door behind him.
Crayon drawings, including one of JOSH's name, decorate the door.)

(Commercial 1.)






BAKER COUNTY, OKLAHOMA
7:42 AM

(Rundown trailer in a grassless barnyard. DOGGETT arrives in his rental sedan and gets
out of the car. Oil drill in the background.)

DOGGETT: Anybody in there? Hello? Ronald Purnell?

(No answer. An old beige rusted and dented car pulls up in the yard. Unseen by
DOGGETT, a woman in her 40's, MARCIA PURNELL, peeks out one of the windows
of the house. RONNIE PURNELL, now in his twenties, is driving the car. He looks just
as moody and depressed as before. DOGGETT goes to the car window.)

DOGGETT: Ronald Purnell?

RONNIE PURNELL: Yeah.

DOGGETT: Can I talk to you?

(RONNIE PURNELL avoids eye contact.)

DOGGETT: Can you come out, and we can have a conversation?

(RONNIE PURNELL reluctantly gets out of the car. He is wearing clothes that are too
big for him.)

RONNIE PURNELL: Is this about my probation?

DOGGETT: It's about a little boy named Billy Underwood. You know that name?
Ring a bell?

RONNIE PURNELL: (looking down) No.

DOGGETT: It does to everybody else in this area. He vanished from a school fair you
were at ten years ago.

(RONNIE PURNELL looks uncomfortable.)

DOGGETT: You remember him now?

RONNIE PURNELL: Yeah. I remember him.

DOGGETT: You think he'd remember you?

RONNIE PURNELL: Me?

DOGGETT: You. Your face.

(RONNIE PURNELL chuckles humorlessly and shakes his head.)

RONNIE PURNELL: You're a trip, man. You know that?

DOGGETT: This has nothing to do with you being stoned or violating your probation.
All I'm asking is that we go see Billy. See what he says.

(DOGGETT opens the passenger door of his car. RONNIE PURNELL stares at him in
confusion.)

RONNIE PURNELL: See what he says where?

DOGGETT: Where? Wherever. Wherever you want. I'll make sure he's there.

RONNIE PURNELL: You're not making sense, Dude. Just leave me alone.

(RONNIE PURNELL goes into the house. DOGGETT watches him go, then slowly gets
back into his car. He sits a moment, then takes out his wallet and pulls out a fairly new
looking picture of a smiling little boy, perhaps eight years old. The boy looks very
similar to DOGGETT. DOGGETT sighs. [CarriK: Credits listed a LUKE
DOGGETT.] )





(UNDERWOOD house, next morning. LISA UNDERWOOD enters BILLY's room.
The door is not completely closed, and the bed is empty. Death music from Swan Lake is
playing.)

LISA UNDERWOOD: Billy? Honey, are you here?

(She goes into JOSH's room. He is still asleep. There is a bloody hunting knife sticking
up out of the mattress very close beside JOSH. LISA UNDERWOOD screams
hysterically, waking up JOSH.)

JOSH: What?! What are you doing?!

(He jumps up as she runs to him.)

LISA UNDERWOOD: Joshey! Oh, my god! Are you hurt?

JOSH: No.

(There is blood on his nightshirt.)

LISA UNDERWOOD: You're bleeding.

JOSH: Mom!

(She points at the knife.)

LISA UNDERWOOD: Where did that come from?

JOSH: I don't know.

(They both turn and see BILLY standing in the room, staring at JOSH.)

LISA UNDERWOOD: (gently) Billy. Billy... Billy, honey... what are you doing
here?

(JOSH stares at BILLY, clearly freaked out.)

LISA UNDERWOOD: Please, Billy, answer me.




DEXTER COMMUNITY HOSPITAL
11:09 AM

(SCULLY and DOGGETT are looking at the bagged, bloody knife held by SHERIFF
SANCHEZ.)

SHERIFF SANCHEZ: Just got word back from the lab. Ran the blood twice and no
doubt about it. It's the little boy's.

DOGGETT: But I thought you said he wasn't cut.

(DOGGETT takes the knife.)

SHERIFF SANCHEZ: No. You're misunderstanding. It's the other son I'm talking
about, Billy-- the boy who was kidnapped.

DOGGETT: That doesn't make any sense.

SCULLY: No. Billy wasn't cut either.

SHERIFF SANCHEZ: No, but he definitely handled the knife. His prints are on it.

DOGGETT: Where did he even get it?

SHERIFF SANCHEZ: His father's never seen it before. He's no hunter. Never cleaned
an animal, which is about all a knife like that's good for... except for killing, of course.

SCULLY: Well, I hate to say this … but I think that the best thing for Billy and his
family is if he's removed to an institution under the observation of people who are
experienced in these things.

DOGGETT: You mean, remove him? Take him away? After all his family's been
through?

SCULLY: This is not a normal child, Agent Doggett, and this is not a normal act.

DOGGETT: You make it sound like he's possessed. Call the exorcist. He's a kid-- a
kid who's been through who knows what kind of hell. Give him a chance. How do you
know he's not trying to communicate something?

SCULLY: And what's the message?

(DOGGETT has no answer.)

SCULLY: Yes, he's a kid, Agent Doggett, you're right. He's a kid who materialized out
of thin air, unaged. Do you not somehow recognize how strange this is?

(DOGGETT looks back down at the knife. A simple five-armed symbol is engraved on
the handle of the knife.)

DOGGETT: Did anybody notice this? This symbol?

SHERIFF SANCHEZ: Yeah. Yeah, uh, I was going to mention that to you 'cause it's...
uh …kind of weird.

DOGGETT: Weird how?

SHERIFF SANCHEZ: Well, like I told you, we tried everything to find that boy, and
who abducted him went so far as to bring in a police psychic ten years back-- came up
with that very same symbol.

DOGGETT: Well, how exactly did he come up with it?

SHERIFF SANCHEZ: She. Sharon Pearl. Couldn't say how it came to her.

SCULLY: I've seen this symbol before, too.

DOGGETT: You have?

(SCULLY goes into the observation room. She picks up the sheet of paper that BILLY
was drawing on and holds it up against the window for the men to see. It is covered with
many small copies of the same symbol.)

SHERIFF SANCHEZ: I'll be damned.




(BILLY's bedroom. LISA UNDERWOOD is dressing him. He stands still, not resisting,
just staring at her. "All the pretty little horses" is playing.)

LISA UNDERWOOD: We love you so much, Billy. Whatever happened... we want to
put it behind us. Be a family again. And if you could help us to understand what you're
going through, we could move forward.

(She finishes dressing him and reaches for him. For the first time, he tries to pull away,
resist.)

LISA UNDERWOOD: No, we're just going to go see a doctor, someone you might
want to talk to. We're coming right back.

(She picks him up and carries him tenderly out of the room and down the hall.)

LISA UNDERWOOD: Nothing's going to happen. Mommy won't let anything happen
to you.

(JOSH opens his door a crack to watch them leave. BILLY stares at him.)

LISA UNDERWOOD: Billy, I just want you to get the help you need so we can all live
here together and be happy. Okay? Come on, sweetie.

(As they go down the stares, JOSH sighs, closes the door, and goes to the window where
he can look down at the driveway where DOUG UNDERWOOD is getting the minivan
ready. LISA UNDERWOOD leads BILLY outside and DOUG UNDERWOOD sighs as
he buckles BILLY into the back seat. LISA UNDERWOOD is watching from the other
side of the van.)

LISA UNDERWOOD: (slightly irritated) I'll take him, Doug. If it's such a strain on
you.

(DOUG UNDERWOOD closes one of the cars sliding doors and looks up to JOSH's
window. LISA UNDERWOOD closes the other sliding door and joins her husband in
front of the car.)

DOUG UNDERWOOD: Look, if you think a shrink can give us some answers, fine. I
just don't want this to ruin our other son's life in any way.

(He gets in the minivan and starts the engine. When he looks over his shoulder to back
out of the driveway, BILLY has vanished from his seat.)

DOUG UNDERWOOD: Billy? Billy?

(Billy is not in the van. DOUG UNDERWOOD gets out of the van and he and LISA
UNDERWOOD begin calling for him.)

LISA UNDERWOOD: Where's Billy?

DOUG UNDERWOOD: Billy?

(They continue calling his name as: )

(Upstairs, JOSH turns from where he was looking out the window. BILLY is standing
right behind him.)

JOSH: (screaming) Dad!

QUICK CUT TO:




(PURNELL's trailer. MARCIA PURNELL is following her son out of the house.)

MARCIA PURNELL: I don't want no more trouble here, Ronnie. Whatever you're
doing, you do it somewhere else.

RONNIE PURNELL: You ever get off your lazy ass to do anything but hassle me?!

MARCIA PURNELL: Watch your mouth. I got company coming and he won't take
your lip.

RONNIE PURNELL: Who?

(An old pick-up drives up to the house. A truly revolting man, CAL JEPPY, is driving.
He is about 50, balding, thick red-brown mustache and goatee. Probably smells bad and
doesn't brush his teeth often. RONNIE PURNELL is not happy to see him.)

RONNIE PURNELL: You tell him to stay out of my face.

(CAL JEPPY gets out of the truck and walks swiftly toward RONNIE PURNELL as
RONNIE PURNELL avoids his gaze and tries to get away.)

RONNIE PURNELL: Get away from me.

(CAL JEPPY corners him and begins taunting him.)

CAL JEPPY: Where you going, weirdo? Hey. Hey. You steal those clothes off a fat
man.? Or'd... you just shrink? Hmm?

(RONNIE PURNELL tries to get past him, but CAL JEPPY blocks him.)

MARCIA PURNELL: (smiling) Hey, you going to get your butt in this trailer,
traveling man?

(CAL JEPPY finally lets RONNIE PURNELL get around him, then he walks over to
MARCIA and they begin the redneck mating ritual.)

CAL JEPPY: Yeah. All depends on, uh... what you've got in mind. Hmm?

(They kiss. Eww.)

BOTH: Mmm.

(They laugh and she squeals as he slaps her behind and chases her into the house.
RONNIE PURNELL walks into the woods nearby. He finds a spot on the ground next to
a large twisted stump, and, with effort, pulls out a small shovel hidden under the leaves.
He begins digging. Only a few inches below the surface, we see that he has uncovered a
small skull.)

(Commercial 2.)





UNDERWOOD RESIDENCE
5:53 PM

(The living room of the UNDERWOOD house. As SCULLY and DOGGETT watch, a
woman, SHARON PEARL, about 40, is testing a handheld tape recorder.)

SHARON PEARL: ( on tape ) Testing, one, two, three...

(DOUG UNDERWOOD comes over to SCULLY and DOGGETT. He is quietly
frustrated.)

DOUG UNDERWOOD: This is great. Now, I've got a psychic sitting in my living
room who's going to tell me what's wrong with my son.

SCULLY: I understand your misgivings, Mr. Underwood, but perhaps you can look at
this as just another avenue.

DOUG UNDERWOOD: An avenue to what?

DOGGETT: We're going to solve this case, Mr. Underwood. We're going to find out
who did this to your son.

DOUG UNDERWOOD: And then what? What am I left with? A kid who stabs knives
into his brother's mattress? You don't know the half of it. He gives everyone but his
mother the creeps with that stare of his.

DOGGETT: I just know that this is going to tear you apart. It's going to tear your
family apart. And you can't let it. You've got to save them from the damage this can do.

(JOSH comes down the stairs.)

DOUG UNDERWOOD: I'll be happy to save what I can. Come on, Josh. Let's go.

(DOUG UNDERWOOD leaves the house with JOSH.)

SHARON PEARL: (looking at her watch) Is this going to happen?

DOGGETT: Shouldn't you be telling us that?

(SHARON PEARL smiles.)

SHARON PEARL: You're no doubt confused, Agent Doggett. I take psychic readings
not see through walls.

(LISA UNDERWOOD brings BILLY downstairs.)

LISA UNDERWOOD: Sorry to keep you waiting.

SHARON PEARL: Mrs. Underwood. I'm Sharon Pearl. I consulted on your son's
disappearance back in 1990.

(LISA UNDERWOOD nods. SHARON PEARL kneels down to BILLY's level.)

SHARON PEARL: And you're Billy?

(She looks at him. Her warm friendly expression shifts to shock, then horror.)

SCULLY: Ms. Pearl? Are you okay?

SHARON PEARL: (voice trembling) There are very powerful forces at work here.
Working through this boy. Drawing him to his brother. I feel this force...

(She lets go of BILLY's hands and stands.)

SHARON PEARL: I feel this force...

(SHARON PEARL tears her eyes away from BILLY and looks straight at DOGGETT.)

SHARON PEARL: … coming through you. You lost someone just like Billy.

(SCULLY looks at DOGGETT in surprise. Suddenly SHARON PEARL begins
convulsing and speaking gibberish.)

[Closed Cationing: SCULLY: Call 9-1-1.]

(SCULLY and DOGGETT run to where SHARON PEARL has fallen onto the couch.)

DOGGETT: What's happening to her?

[Closed Captioning: SCULLY: She's having a grand mal seizure.]

(SHARON PEARL's forehead begins to swell. The skin ripples into the five-armed
symbol. She seems to be in agony.)

SCULLY: Oh, my god.

(SCULLY and DOGGETT look at each other, then back at the woman.)




(PURNELL trailer. As RONNIE PURNELL comes out of the woods and gets into his
car, CAL JEPPY comes out of the house. He is wearing a brown sleeveless shirt and
drinking a beer. He looks pretty relaxed. Eww.)

CAL JEPPY: Hey, Fartknocker.

(RONNIE PURNELL tries to start his car engine. It won't turn over. CAL JEPPY leans
in the car window.)

CAL JEPPY: Where are you going in such a big hurry? Hmm? What's the matter?
Got something in your ears?

(CAL JEPPY sticks his finger in RONNIE PURNELL's ear. RONNIE PURNELL
flinches and avoids looking at him.)

RONNIE PURNELL: Don't .. don't touch me, Cal.

CAL JEPPY: Oh, listen to him. No wonder he wears them baggy britches. Our
Ronnie's a big man now.

(He takes a swig of the beer.)

CAL JEPPY: Your old lady said the cops came and talked to you. Hmm?

(In a sudden burst of violence, CAL JEPPY smashes the beer bottle against the side of
the car and holds the edge of the broken neck against RONNIE PURNELL's head.)

CAL JEPPY: I am talking to you, not the side of your head. Better mind your Ps and
Qs, Jones. Or I'm going to tell them what you did to that little boy. I'm going to tell
them what you got buried out there in the woods.

(RONNIE PURNELL slowly turns to look at him. CAL JEPPY stabs him with the bottle
right behind his left ear. RONNIE PURNELL gasps in pain and puts his hand to his head
as MARCIA PURNELL looks out the front door.)

MARCIA PURNELL: What's going on with you two?

CAL JEPPY: Talking about cars.

(CAL JEPPY "affectionately" slaps the hood of the car and RONNIE PURNELL's
shoulder, then walks back to the house as RONNIE PURNELL gets the car started and
drives away quickly, tires spinning in the dirt.)





(Night. Outside the UNDERWOOD house later. An ambulance is pulling away. LISA
UNDERWOOD leads BILLY back into the house. SCULLY joins DOGGETT in their
car.)

SCULLY: Well, they've got her stabilized and it looks like she's going to be okay... if
you're at all curious about her condition.

DOGGETT: I'd be more curious if I believed it.

SCULLY: Believed what?

DOGGETT: The act.

SCULLY: You think that was an act?

DOGGETT: It's pretty standard fare, isn't it? Float a few choice revelations, as if they
came from on high, roll around on the floor.

SCULLY: You saw that symbol appear on her forehead.

DOGGETT: It's a damn good trick. Don't ask me how she does it.

(SCULLY takes out the tape recorder and pushes play. We hear the recording of
SHARON PEARL speaking gibberish. DOGGETT does not want to hear it.)

DOGGETT: Agent Scully, please.

SCULLY: No. I think you want to hear this.

(More gibberish.)

SCULLY: Now listen to it backwards.

(She pushes the reverse button. A garbled singing plays.)

VOICE: (singing) When you wake …

DOGGETT: What was that?

[CarriK: Well, if Scully thinks that deep-voiced garbled sound is coming out of a child,
who am I to argue.]

VOICE: (singing) … you shall have …

SCULLY: It's a child singing.

VOICE: (singing) … all the pretty little horses...

SCULLY: Lyrics.

(SCULLY hums the tune along with the voice.)

VOICE: (singing)
Hush-a-bye, don't you cry...
go to sleep, little baby...

SCULLY: You hear that, under the noise? Now...

(SCULLY looks back down at the recorder. DOGGETT notices RONNIE PURNELL's
car pull up across the street.)

DOGGETT: What's he doing here?

(RONNIE PURNELL stops his car in front of the house. As he is looking at the house, a
small hand touches his shoulder. RONNIE PURNELL turns and stares in shock at the
calm face of BILLY.)

RONNIE PURNELL: Get away from me.

(RONNIE PURNELL starts to get out of the car, but DOGGETT has come up to his
window.)

DOGGETT: (knocking on the window) Ronnie, open up the car!

(DOGGETT also sees BILLY sitting in the passenger seat. Panicked, RONNIE
PURNELL starts the car and drives away.)

DOGGETT: Ronnie. Ronnie, stop the car!

(DOGGETT, ala Terminator 2, begins chasing the car.)

DOGGETT: (yelling) Agent Scully, he's got Billy!

(SCULLY slides over to the driver's seat and circles the block to cut off RONNIE
PURNELL on a side street. They screech to a halt. SCULLY gets out of the car, gun
ready.)

SCULLY: Get out of the car! Now!

(He does, hands up. DOGGETT catches up with them, and roughly turns RONNIE
PURNELL against the car.)

DOGGETT: Don't move, Ronnie.

(DOGGETT sees that BILLY is no longer in the car.)

DOGGETT: Where's Billy?

SCULLY: I thought you said Billy was in the car?

DOGGETT: Where's Billy?

(RONNIE PURNELL doesn't answer. DOGGETT gives him a small shove, and then
turns away angrily.)





DALE'S FOOD AND GAS
9:17 PM

(DOUG UNDERWOOD starts filling up the gas tank. JOSH is waiting in the car.)

DOUG UNDERWOOD: I'm going to go pay. You want anything?

(JOSH shakes his head.)

DOUG UNDERWOOD: Josh, are you okay, buddy?

(He nods. DOUG UNDERWOOD goes into the station. JOSH's sits up eagerly as he
sees a man leading a saddled pony to a horse trailer next to another pump.

JOSH: Dad, can I...?

(Dad can't hear. JOSH can't wait. He's ten years old and it's a pony! He gets out of the
van and goes over to the trailer.)

JOSH: Mister?

(The pony has already been loaded into the trailer. No sign of the man. JOSH looks
through the slats on the side of the trailer.)

JOSH: Pony, hey, pony. Hey, there you are.

(He reaches his arms through the slats.)

[Closed Captioning: JOSH: are you in there? Is it okay if I pet you? Hey, there you
are. Come here, pony. Come here, boy. I'm just going to pet you, okay? Come on. ]

(Suddenly, JOSH's body slams up against the side of the trailer as his arms are grasped
from within. The front of the dusty trailer advertises "Cal's Pony Ride-Along" and has
the five-armed symbol as the central motif. JOSH screams as the pickup truck pulls the
trailer and him away.)

JOSH: Help! Help!

(Commercial 3.)





(Sheriff's office. DOGGETT watches as SHERIFF SANCHEZ books RONNIE
PURNELL. DOGGETT is pacing impatiently.)

SCULLY: Count to ten, Agent Doggett.

DOGGETT: He took Billy.

SCULLY: (sighs) He couldn't have.

DOGGETT: How are you going to back that up with Billy now missing from his home?

SCULLY: By the certain knowledge that not five minutes earlier, I saw him enter his
home with his mother.

DOGGETT: I saw him! I saw Billy riding in the car with Ronnie. Why else would
Ronnie take off like he did?

SCULLY: It's impossible, Agent Doggett, like everything else about this case. Like
how Billy can be in his home one minute and then in Ronnie's car the next. Everything
about this case is impossible.

DOGGETT: This kid is the key, Agent Scully. I've been saying that from the
beginning and I'll say it now.

(SHERIFF SANCHEZ opens the door.)

SHERIFF SANCHEZ: Agent Doggett, Agent Scully, I got bad news on top of worse.
Josh, the Underwood's other little boy, has disappeared.

(They both look at him.)

SHERIFF SANCHEZ: I'm not joking, not even close. I got the parents out here now.
Come on.

(SCULLY follows SHERIFF SANCHEZ into another room where the UNDERWOODs
are waiting, worried. DOGGETT calls after her.)

DOGGETT: I've got to talk to this kid, Agent Scully. I'm absolutely sure.

(SCULLY gives him a look, then turns to the parents.)




(RONNIE PURNELL is escorted into an interrogation room.)

DOGGETT: Have a seat, Ronnie.

RONNIE PURNELL: (sitting) I know what you're going to ask... but I got no answer.

DOGGETT: Well, there can be only one answer, right? I mean, why else did you go to
the house? You went there for Billy, to get him back.

RONNIE PURNELL: No.

DOGGETT: You had him in your car.

RONNIE PURNELL: I don't know how he got there.

DOGGETT: Then why go to the house at all?

RONNIE PURNELL: Because I didn't believe you.

**(RONNIE PURNELL has a flashback of BILLY at the fair swinging and calling to his
mother, "Mom!" He sees himself standing next to the swing, something hidden in his
palm, maybe the knife?)**

DOGGETT: You didn't believe what? What's so hard to believe, Ronnie?

RONNIE PURNELL: You said I could talk to him.

DOGGETT: (cop mode) You needed to talk to him. After all those years, you
couldn't live without him. You wanted him back. All those years, Ronnie. All those
years. Where'd you keep him?

**(Another flashback, this of himself looking a BILLY, bound and gagged, perhaps
under the slatted floor of a barn.)**

RONNIE PURNELL: Man, you don't understand.

DOGGETT: You were sorry you let him go.

RONNIE PURNELL: (voice starting to tremble) No, I... I couldn't let him go.

**(Flashback of himself using the knife through a metal grate to cut the rope binding
BILLY's wrists together. He is singing softly to him in the voice we heard on the tape.
"When you wake you shall have all the pretty little horses." He looks over his shoulder
in fear at someone entering the barn.)**

DOGGETT: Who else knew about him? Your mom?

RONNIE PURNELL: No.

DOGGETT: Where'd you keep him?

RONNIE PURNELL: I didn't.

DOGGETT: What did you do to him?!

RONNIE PURNELL: I didn't do anything. I took care of him. I-I sang to him... you
know, so he wouldn't be afraid.

DOGGETT: (pause, then gently) Afraid of who? Who was he afraid of, Ronnie?
Somebody else involved? Somebody else make you do it? He take that other kid, too?
Billy's brother? He take him?

(RONNIE PURNELL looks worried.)

DOGGETT: You're afraid of him, too, aren't you? You're a victim, just like those other
kids. Is that right? You... me, Billy. This is our chance, man. What's his name?

(RONNIE PURNELL hesitates, his lips moving, almost ready to speak.)




(Later that night, PURNELL trailer yard. Overhead shot of the five-armed pony walker
we saw ten years ago. The horse trailer is parked outside the barn. Police cars arrive.
DOGGETT and SCULLY get out of their car and run to the barn door.)

DOGGETT: FBI! Cal Jeppy! Come out!

(They enter the barn and find JOSH, bound and gagged under the floorboards. Together,
they open a trapdoor and metal grate to free the boy.)

DOGGETT: All right. It's okay, Josh. You're okay. We're not going to hurt you.

(SCULLY looks out through the slatted side of the barn and sees CAL JEPPY running
toward the wooded area.)

SCULLY: Agent Doggett... He's on the run.

(Leaving SCULLY with JOSH, DOGGETT runs out of the barn and after CAL JEPPY.
[CarriK: The man can run!] He yells to the backup officers.)

DOGGETT: He's in the woods!

(The others follow DOGGETT.)

DOGGETT: Watch your fire! There may be another boy!

(Gasping, CAL JEPPY runs through the woods. DOGGETT, flashlight in one hand, gun
in the other, catches up with him.)

DOGGETT: Down on your knees!

(Panting, CAL JEPPY obeys.)

DOGGETT: Hands in the air! Where's the kid?!

CAL JEPPY: He's in the trailer.

DOGGETT: Other kid!

CAL JEPPY: There's no other kid.

DOGGETT: Billy Underwood!

CAL JEPPY: (terrified, confused) There's no other kid.

(DOGGETT turns and looks behind him. BILLY is standing there, a few feet away.
DOGGETT turns back to CAL JEPPY and the other officers arriving.)

DOGGETT: Get this man in cuffs! Read him his rights! The kid's over...

(DOGGETT turns to show them where BILLY is. BILLY is gone. As the other officers
cuff CAL JEPPY, DOGGETT walks over to where he saw BILLY standing a moment
before. He looks down at the ground and stares at the small exposed skull that RONNIE
PURNELL uncovered earlier.)




(Next morning. Area is taped off with crime scene tape. The simple melody of "All the
Pretty Little Horses" is heard. DOUG and LISA UNDERWOOD are looking at the little
crude grave. DOUG UNDERWOOD is softly crying. DOGGETT watches them a
moment, then crosses to join SCULLY a few yards away. They speak quietly and
urgently.)

DOGGETT: I don't believe it.

SCULLY: Okay, the clothes, the age and condition of the bones, the location of the
grave. There is no doubt that that is Billy Underwood's skeleton that is in that grave.

DOGGETT: We spent time with this boy. Doctors took Billy's blood. You examined
him yourself. Now, I can't accept it. I can't believe we're asking them to.

SCULLY: I know, but the forensic evidence is going to come out, and what then?
What if I'm right?

DOGGETT: Well, what then, Agent Scully? What we do? We move on, let it go, case
closed?

SCULLY: Look, I know where you are with this. I have been there. I know what
you're feeling-- that you've failed and that you have to explain this somehow. And
maybe you can.

DOGGETT: Not if that's Billy's body, I can't.

SCULLY: But maybe that's explanation enough. That that's not Billy's brother lying in
that grave, too. That that man who did this is never going to be able to do it again. Isn't
that what you wanted, Agent Doggett?

DOGGETT: Agent Scully, don't ask me to believe that this is some kind of justice from
beyond the grave.

SCULLY: All I'm saying is that maybe you succeeded... whether you're willing to see
that or not.

(Lullaby melody again. She holds his gaze for a moment, then walks off alone into the
woods. DOUG UNDERWOOD wipes his face and stands up from the grave. He and his
wife embrace each other tightly. DOGGETT watches them silently.)

The End

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HypnoChat

stanary (14:37)

Oui c'est bien d'espérer...

stanary (14:37)

Sonmi451 (14:38)

Merci. lol

Sonmi451 (14:38)

L'espoir fait vivre comme on dit. ^^

stanary (14:39)

Oui c'est ce qu'on dit ! Alors et toi dis moi tu travailles dans quoi ?

Sonmi451 (14:41)

Moi je suis assistante maternelle mais en ce moment en congé parental.

stanary (14:43)

Ah bah alors ça va veut dire que t'aimes beaucoup les enfants hein ! Mais j'aime bien ça ...

Sonmi451 (14:44)

Tout à fait.

stanary (14:45)

Alors dis moi, tu fais quoi de beau ?

Sonmi451 (14:47)

Là en ce moment, je m'occupe de la migration des épisodes de Friends pendant que mes oreilles sont en train d'écouter si bébé dort toujours. Et puis mes yeux regardent de temps en temps, vers la fenetre pour voir si le grand arrive avec son papa. ^^

Sonmi451 (14:47)

Et toi?

stanary (14:49)

La migration ?
Bon pour moi faut pas chercher hein. Je n'ai pas de vie donc je suis chez moi entrain de ne rien faire si ce n'est lire

Sonmi451 (14:49)

Et en parlant du loup, il sort du bois. Mon grand vient d'arriver.

stanary (14:51)

Eh bah il est autonome ce grand !

Sonmi451 (14:51)

La migration c'est le passage d'un guide épisode à un autre guide, soit de l'ancien au nouveau.

Sonmi451 (14:52)

Je vais devoir te laisser. Il est autonome oui d'une certaine façon, mais il a encore "que" 5 ans.

Sonmi451 (14:52)

A bientôt peut être.

stanary (14:56)

A bientôt

billy (18:53)

Plus que quelques jours pour venir participer au concours de la photo de bienvenue du quartier Castle. Venez vous affronter avec les plus créatifs ^^

CastleBeck (19:15)

Billy : Je crois que ton message irait plutôt dans la room HypnoPromo maintenant
D'ailleurs, il faut que je me dépêche pour finir ma participation...

Chaudon (19:39)

Nouveau calendrier sur le quartier "Elementary" ! Donnez votre avis sur le quartier de la série !

Titepau04 (20:22)

Chaudon, tu t'es trompée de room !!!!

Titepau04 (20:23)

T'ai trompé*

Sonmi451 (22:00)

Hypnoroom promo pour les pubs allezzz, on y va vroouuuummmm

Titepau04 (22:01)

LOL!!!!

Titepau04 (08:52)

Bonjour tout le monde!!!!

Hypnotic (11:53)

Bonjour !

Locksley (11:58)

Hello chef !

Titepau04 (12:19)

Bonjour!!

serieserie (13:05)

Hello la citadelle!

Ceci est un extrait des dernières discussions de notre Room HypnoBlabla

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