7ABX07 Tor zur Hölle (englisches Transkript)

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Copygif.gif Die Charaktere, Handlungen, Zitate usw., die im folgenden Transkript Erwähnung finden sind © Chris Carter/1013/Fox Entertainment und (in der deutschen Fassung) Cinephon Synchron. Diese Abschrift ist ohne explizite Erlaubnis von den Rechtehaltern von Fans für Fans als Hommage an Akte X erstellt worden, wir verfolgen keinerlei finanzielle Absichten. Die Texte selbst sind Eigentum des jeweiligen Autors.
7ABX07 Orison
The Truth Is Out There
Copygif.gif Transcribed by CarriK

Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)

Prison chapel room. Bare bricks with a cross at one end. About 20 prisoners are listening to the Reverend Orison, 60's, preach. He has a very evangelical style.

REVEREND ORISON: God's love will set us free. And I believe... if I pray for that love... if I get down on my knees...

He does.

REVEREND ORISON: ... and allow God to enter my hardened, lonely miserable heart and change me through and through that miracle... will come.

He gets up and walks through the prisoners.

REVEREND ORISON: Now, who here believes that with me? Do you? Do you?

Brigham, a prisoner, gazes with adoration at Reverend Orison.

BRIGHAM: Yes, sir, I believe it.

Reverend Orison looks at another prisoner, Donnie Pfaster, the man who abducted Scully in Irresistible, 2X13. Reverend Orison speaks to him.

REVEREND ORISON: Do you? Well, believe, because God's love is not just some slogan. It's a promise straight to you from the Lord Almighty Himself. A promise paid for with the blood of his only begotten son, Jesus Christ of Nazareth. All you have to do...is believe.

PRISONERS: Amen!

A Guard is not pleased with Reverend Orison.

REVEREND ORISON: God's love will set you free. Now, doesn't that just lift up your heart and make you want to say Glory! Amen!

As he says "Glory, Amen," Reverend Orison stamps his foot on the floor and raises his uplifted palm. As the Prisoners echo him, they also stamp their feet.

PRISONERS: Glory! Amen!

REVEREND ORISON: Join with me. Allow the spirit of Jesus Christ to show you the way up to our Heavenly Father. Glory! Amen!

PRISONERS: Glory! Amen!

REVEREND ORISON: Let God's love free you from your prison and deliver you to His side in heaven. Glory! Amen!

PRISONERS: Glory! Amen!

REVEREND ORISON: Praise His name. Praise His holy love. Glory! Amen!

Focus on Donnie Pfaster who is not stamping his foot, and not speaking.

PRISONERS: Glory! Amen!

REVEREND ORISON: Glory! Amen!

PRISONERS: Glory! Amen!

REVEREND ORISON: Glory! Amen!

PRISONERS: Glory! Amen!


Next morning. Prison sweatshop. Prisoners are working at assorted sewing and fabric cutting machines. The prisoner Brigham is working with what seems like a very slow fabric bandsaw. He is not focused on the machine - he seems to be in a deliriously happy trance. His foot, operating the machine, raises and lowers in time to his chanting.

BRIGHAM: Glory. Amen. Glory. Amen. Glory. Amen. Glory. Amen. Glory. Amen. Glory. Amen...

Donnie Pfaster brings up a garment to a Guard for inspection. The Guard is looking at Brigham in disgust.

GUARD: You believe that, Donnie? God loves a sack of crap like you?

DONNIE PFASTER: Bible says.

GUARD: Bible says you kill women, cut their pinkies.

BRIGHAM: Glory. Amen.

GUARD: You're going to burn in hell

BRIGHAM: Glory. Amen.

GUARD: You listening to me? God's got a place for you, all right. Sick puke.

DONNIE PFASTER: Then where does that leave you?

Guard rips apart the garment that Donnie had handed to him.

GUARD: Sorry. Just not good enough for the Illinois penal system.

Brigham, the prisoner who had been chanting "Glory Amen" while running fabric through the cutting machine begins screaming.

BRIGHAM: My hands! My hands!

All his fingers have been cut off at the knuckle.

Slow Motion sequence begins. The Guard runs to Brigham. Other prisoners stand and stare. Other Guards run in. Donnie Pfaster, no longer in slow motion, looks around in surprise, then casually tosses the ripped garment over his shoulder and walks out.


Scully's apartment. Night. Scully wakes up suddenly at the sound of wind in her room. The power has gone out. She gets up and closes the windows in her room. She closes her Bible at the end of her bed which was flipped open by the wind. As she turns back to her bed she sees her digital clock - the time says "6:66 AM" Then, as she looks at it, the clock goes dark, then the power comes back on and the clock says 6:06 AM.


US Penitentiary, Marion, Illinois


Prison. Later. Throughout the scene, Mulder seems very concerned about Scully and her reactions to the case.

MARSHALL DADDO: Life without chance of parole for the premeditated and sadistic sexual murders of five Twin Cities women in 1994. Donald Addie Pfaster.

Scully takes the folder and steps away to look at it.

MARSHALL DADDO: You two put this man away.

MULDER: Yeah. Someone forgot to throw away the key.

Scully looks at Donnie Pfaster's picture.

MARSHALL DADDO: Ah, well, that's another story. Right now, we have to apprehend this man. We'd use all the help you can give us in understanding exactly who it is we're after.

MULDER: Donnie Pfaster is a death fetishist-- a collector of bone and dead flesh, of toenails and hair. It's what floats his boat, gets him off.

MARSHALL DADDO: He's a sick man.

MULDER: Sick would describe him. We found women's fingers in his freezer. He liked to eat them with his peas and carrots.

MARSHALL DADDO: So it's just women he's after.

MULDER: Just women. Been five years in here thinking about only that. I'm sure he's worked up quite an appetite.

MARSHALL DADDO: I happen to know you two agents have a particular forte-- a thing for... what is it called? The supernatural?

Mulder smiles.

MARSHALL DADDO: Now, the circumstances of the escape...

Scully turns back to the men.

SCULLY: I promise you there is nothing supernatural about this man. Donnie Pfaster is just plain evil.

Mulder watches as Scully walks out of the room. She goes into the prison chapel. There are several things written on the walls including "Sheep go the Heven, sic Goats go to Hell". Through the ventilation grate we hear a recorded rhythm and blues song playing.

MUSIC: Don't look any further, Don't look any further, Someone to count on In a world ever changing

Mulder follows her into the chapel.

MULDER: Case closed.

MUSIC: Here I am, baby

MULDER: Didn't look at the file, did you?

SCULLY: A man escaped from prison.

MULDER: Not a man. Donnie Pfaster. And he didn't just escape, he walked out. He walked out of a maximum security facility and no one seems to know how he did it.

SCULLY: Isn't that why we're here?

MULDER: That's why I'm here. I don't know about you. Why are you here? Go home, Scully.

SCULLY: Mulder, this case doesn't bother me.

MULDER: The man abducted you. Donnie Pfaster did a number on your head like I've never seen and it's okay ... to walk away.

SCULLY: Mulder, that man does things to people that no one should ever have to think about. It's not a question of if I should stay. I don't have a choice. So let's get to work.

MULDER: Well, this isn't the first incident. Two prisoners have escaped from maximum security facilities in neighboring states over the past year. At 6:06 this morning, Donnie Pfaster made it three.

SCULLY: 6:06? And what's so supernatural about that?

MULDER: Dozens of witnesses, guards, and staff, and no one seems to remember anything. For a while, they didn't even know these guys were missing.

SCULLY: Have they been apprehended?

MULDER: No, neither of the men have ever been seen again.


Interrogation room. Mulder is sitting with Brigham. Scully is standing against the wall observing.

BRIGHAM: I already told the Warden everything I know... everything I saw that day.

MULDER: Yes, but I'm still a little confused. Maybe you could go over it again.

BRIGHAM: I'm a Christian man.

MULDER: Then I know you'll tell me the truth.

BRIGHAM: Yeah, but I got no idea about Donnie Pfaster...

To Scully.

BRIGHAM: ... or how he broke out.

MULDER: You and Donnie Pfaster were in the garment shop at or about the time he disappeared.

BRIGHAM: Well, it wasn't just me. I mean, there was a lot of us in the shop.

MULDER: Yeah, but you had something happen. You had an incident.

BRIGHAM: Yeah. Something like that.

MULDER: You cried out to the guards that you'd cut your hands.

BRIGHAM: My fingers, man. I saw them all cut off.

The fingers are whole.

MULDER: Others saw them, too.

BRIGHAM: No, but I felt them cut off.

MULDER: How do you explain that?

BRIGHAM: God works in mysterious ways, Brother.

Mulder raises and lowers his outstretched palm.

BRIGHAM: Glory. Amen.

As Mulder raises and lowers his hand, Brigham raises and lowers his foot and says the words, a rapturous smile on his face.

BRIGHAM: Glory. Amen. Glory. Amen.

Mulder and Scully go out into the hall.

MULDER: Post-hypnotic suggestion. Did you see him?

SCULLY: You mean, did I see him raise his foot? Yes, I saw that.

MULDER: A programmed behavior prompted and manifested by suggestion in this case, a rhythmic motion of the hands producing a unconscious act in a conscious state.

Mulder raises and lowers his hand in front of Scully. Very cute.

MULDER: Doesn't work on you.

SCULLY: I know what hypnosis is, Mulder.

MULDER: Group hypnosis.

SCULLY: If you're suggesting that Donnie Pfaster escaped from prison using a technique from a Vegas lounge act I'd think again.

MULDER: Mesmer was able to hypnotize and command entire audiences.

SCULLY: So, how would Donnie have acquired this amazing ability?

MULDER: I'm not saying that it was Donnie.

SCULLY: Well, then, who?

MULDER: Three inmates are missing from three separate prisons. One man has had possible contact with each of those cons. The prison chaplain.

He speaks with a bad Southern accent.

MULDER: Glory. Amen.

Scully again notices the song "Don't Look Any Further" playing. She walks over to the heating vent to hear it better.

MULDER: Not God. The chaplain. Scully, what?

SCULLY: That song-- can you hear that?

MUSIC: Someone to count on.

Mulder joins her under the vent.

MULDER: Barely.

MUSIC: Here I am, stop where you're standing...

SCULLY: I haven't heard that song since high school. That's the second time I've heard it in the last hour.

MULDER: Well, I think if it was a make-out song I think it'd be ruined forever now, huh?

MUSIC: Oh, babe, don't look any further


Harrisburg, Illinois
12:52 PM


City street. Waffle House-type of diner. Donnie Pfaster, now wearing civilian clothes, enters and sits at a booth. He looks at the waitress, 40ish, thumbing through her open checks. Specifically, he looks at her fingers. The nails are painted a bright red. A low end hooker, Blueberry, slides into the booth across from Donnie Pfaster.

BLUEBERRY: Looking for something to eat?

DONNIE PFASTER: Me?

She shows off her body.

BLUEBERRY: How about today's special?

Donnie Pfaster looks at her nails. They are blue -either from bad nail polish or malnutrition. Uncomfortably, she hides her hands.

BLUEBERRY: You aren't a narc, are you?

DONNIE PFASTER: No.

BLUEBERRY: You're looking at my hands.

DONNIE PFASTER: You need a buff and polish.

BLUEBERRY: What are you? A freak?

DONNIE PFASTER: I... I just got out of prison.

The Waitress notices Blueberry.

WAITRESS: Hey, Missy. Leave the customers alone!

DONNIE PFASTER: I'll do it for free.

BLUEBERRY: You just got out of prison and you want to give me a manicure?

DONNIE PFASTER: I'll even do your cuticles.

She laughs.

REVEREND ORISON: You receive the Lord's grace and this is your thanks?

Donnie Pfaster looks up as if the Lord is speaking.

DONNIE PFASTER: What?

Reverend Orison is standing beside the booth. Donnie Pfaster turns to him.

REVEREND ORISON: Who do you think got you out of prison?

DONNIE PFASTER: I don't care. I'm busy right now.

REVEREND ORISON: The Grace of God got you out and it's the only thing that will keep you out.

BLUEBERRY: I thought you were kidding.

REVEREND ORISON: He's chosen, you, Donnie.

Outside, we see several police cars pull up. Blueberry gets up to leave.

BLUEBERRY: Later.

Donnie Pfaster accuses Reverend Orison.

DONNIE PFASTER: You called them on me.

REVEREND ORISON: No.

DONNIE PFASTER: Then do something.

REVEREND ORISON: I have a car.

Reverend Orison holds out a keyring with several keys and a crucifix on it.

DONNIE PFASTER: We aren't going to make it to the car.

REVEREND ORISON: It's within His power.

Marshall Daddo and some other police, US Marshals, enter the diner, obviously looking for Donnie Pfaster. As they spot him, everything goes into slow motion.

REVEREND ORISON: Glory, amen. Glory, amen.

Reverend Orison jingles his keys. One of the customers at the counter reaches over and attacks the waitress. Marshall Daddo turns away from Donnie Pfaster to deal with the situation at hand. Still in slow motion, the Waitress screams, grabs a pot of hot liquid from the stove and hurls it into her attackers face. When Marshall Daddo turns back to where Donnie Pfaster and Reverend Orison were standing, they are gone. Outside, Reverend Orison turns as an older model car driven by Donnie Pfaster, runs him down. Blueberry is the passenger. Donnie Pfaster drives off. Reverend Orison, bleeding, rolls over in pain.


Same diner, later. Crime scene. Mulder and Scully get out of the car and join Marshall Daddo and the other police.

MULDER: Was he here?

MARSHALL DADDO: Well, um... We're trying to determine that.

SCULLY: Did you see him?

MARSHALL DADDO: Well, that's a good question. We thought we saw something, but apparently we didn't.

Police look uncomfortable.

MULDER: We got a call about a possible sighting of the suspect.

No response.

MULDER: Well, something happened here, huh?

WAITRESS: Guy got hit by a car.

MARSHALL DADDO: A prison chaplain, it turns out. A Reverend Orison. Paramedics took him to the hospital.

Scully hears the song on the radio near the stove.

MUSIC: Someone to count on

MARSHALL DADDO: He's in pretty bad shape.

MUSIC: In a world ever changing, Here I am, stop...

Scully walks over to the lunch counter. Mulder watches her.

SCULLY: Excuse me, uh, could you turn that up, please?

The Waitress turns up the volume. Scully looks confused as she listens to the song.

SCULLY: Yeah.

MUSIC: What you need is a lover, Someone to take over, Oh, girl Don't look any further, And it's strange, When you think of the chances...


St. Clare Medical Center
Harrisburg, Illinois


Hospital. 4:20. Scully enters Reverend Orison's room. She looks at his chart.

SCULLY: You're lucky to be alive, Reverend Orison.

REVEREND ORISON: Who are you?

SCULLY: Special Agent Dana Scully.

REVEREND ORISON: Believe in the Lord, Agent Scully. He believes in you.

SCULLY: That's nice... But my partner and I are more concerned with several disappearances from maximum-security facilities that seem to involve you.

REVEREND ORISON: Don't be concerned. God has them.

SCULLY: What do you mean? Reverend?

REVEREND ORISON: You're a Believer, aren't you?

SCULLY: This has nothing to do with me, sir.

REVEREND ORISON: It has everything to do with you. You have faith... have had faith. You hear him calling you but you're unsure what to do.

Scully fingers her very visible cross.

SCULLY: It's not exactly a long shot, sir.

REVEREND ORISON: You stand as you do now, neither here nor there... longing... but afraid, waiting for a sign. But the signs are everywhere.

SCULLY: What happened to the inmates, sir?

REVEREND ORISON: Everything has a reason, Scout.

Scully looks shocked.

REVEREND ORISON: Everything on God's earth. Every moment of every day the Devil waits for but an instant. As it is, it has always been. The Devil's instant is our eternity.

Mulder enters the hospital room.

MULDER: The Good Reverend. How do you do? Or maybe I should say, "How do you do it?"

REVEREND ORISON: His is the Word. I am but the Messenger who delivers it.

MULDER: Well, this delivery arrived a little late-- a little late and a little cold as a matter of fact. I thought you'd want to see it.

Mulder hands a photo to Reverend Orison. It is of the hooker, Blueberry, lying dead in a bloody bathtub - her hair and fingers cut off. Reverend Orison winces and looks away.

REVEREND ORISON: What is this?

MULDER: Blood of the lamb, Reverend. Handiwork of Mr. Donnie Pfaster-- a young girl he picked up at the bus stop.

REVEREND ORISON: Oh, lord.

MULDER: Where is he, Reverend?

REVEREND ORISON: He took my car. She wasn't supposed to die.

MULDER: No. Donnie was supposed to die. You were supposed to kill him. That's why you freed him. God knows you're capable of it. The Reverend Orison is really Robert Gailen Orison-- convicted in 1959 of first-degree murder. Served 22 years in Soledad.

REVEREND ORISON: God spoke to me. He told me to look after Donnie.

MULDER: When God spoke to you, Reverend, did he happen to mention where Donnie was headed?

No answer. Mulder and Scully go out into the hall.

SCULLY: Where are you going, Mulder?

MULDER: To prove that man's a liar.

SCULLY: How do you prove that somebody isn't being directed by God? You don't believe that it happens?

MULDER: God is a spectator, Scully. He just reads the box scores.

SCULLY: I don't believe that.

MULDER: You think God directs that man? You think he directs him to kill?

SCULLY: Donnie Pfaster isn't dead, and we don't know that the other inmates who escaped are dead, either.

MULDER: So, what? You think that God directs him to ... let the prisoners out to kill?

SCULLY: No, but I believe that the Reverend believes what he's saying-- that's it's God working through him.

MULDER: Well, plenty of nut bags do. Has he ever spoken to you?

SCULLY: I'm trying not to take offense.

MULDER: What did he say?

Scully sighs.

SCULLY: Mulder, I have heard that song three times now. That may not mean anything to you but it means something to me.

MULDER: What does it mean?

SCULLY: I never thought about it before. It never meant anything to me until yesterday when it made me remember something.

MULDER: What?

SCULLY: When I was thirteen my father was stationed in San Diego. I was listening to the radio to that song when my mother came in and told me that my Sunday School teacher had been killed.

MULDER: Hmm...

SCULLY: He had been murdered in his front yard... And that's the first time that I ever felt that there was real evil in the world. Mulder, Reverend Orison called me "Scout." That's the same name that my Sunday School teacher called me. Donnie Pfaster escaped from prison at 6:06 a.m. That's exactly the same time that I woke up yesterday morning when my power went out.

MULDER: So, what do you think that God is telling you?

Scully has no answer.

MULDER: Well, all right. Come with me, Scout. I'll show you how the Reverend talks to God.


Donnie Pfaster has parked Reverend Orison's car on the side of a rural road. He is listening to the police report on the radio.

REPORTER: Police are involved in a four-state manhunt for a prisoner who escaped maximum security in Marion, Illinois. He was last seen driving a green 1970 Chevrolet Impala with a black landau top. He is described as six feet tall, medium build...

Donnie Pfaster gets out of the car and uses a pocketknife to rip the fabric top off of the car He pulls two blood stained prison uniforms out of the trunk, then finds a driver's license for Reverend Orison. 1476 Wicks St., Equality, Illinois 62934


Mulder and Scully are looking at a computer generated scan of Reverend Orison's brain.

MULDER: It's a cerebral edema.

SCULLY: Swelling of the brain-- a trauma not uncommon with this kind of head injury or accident.

MULDER: Except this isn't accidental. The cause, in fact, as it was stated to me, is self-inflicted. There's a small hole here in the skull which allows oxygen into the brain cavity, the result of which is the Reverend Orison has three times the normal blood volume pumping through his brain.

SCULLY: And he did this himself?

MULDER: Yeah. My guess is he-he probably did it when he first got into prison-- when he first learned how to use its powers.

SCULLY: "Its powers."

MULDER: There's a theory that at this point in human evolution our mental capabilities are limited only by inadequate blood supply. In fact, centuries ago, in the Peruvian Andes, Holy Men used to physically remove parts of their skulls in order to increase blood volume or drill small holes.

SCULLY: So this hole in his head enables Reverend Orison to help these prisoners escape?

MULDER: The practitioners of this found that they could perform certain mental tricks one of which they called "stopping the world."

SCULLY: Well, nobody can stop the world, Mulder. I don't care how many holes they have in their head.

MULDER: Yeah, but maybe they can alter perception of it creating a disparate version of reality which they can then project through hypnosis.

SCULLY: But why? I mean, even if he could, why?

MULDER: Donnie Pfaster is serving a life sentence without possibility of parole. That's the final judgment as far as society is concerned but not in the eyes of God or in the eyes of a man who thinks he's God's tool.

SCULLY: Well, then, if Reverend Orison meant to kill Donnie Pfaster then why is he still alive?

MULDER: I don't know. Maybe he unleashed something that he couldn't control. Maybe he thought he was opening the door of perception but then unwittingly he... opened the gates of Hell.


Reverend Orison's hospital room. Evening. A Marshal is guarding him, reading a paper. The beeping of the heart monitor slows and goes down in pitch.

MARSHAL: What?

REVEREND ORISON: Glory. Amen. Glory. Amen.

The heart monitor is now beeping even more slowly. Reverend Orison gets out of bed. The Marshal does not respond except to look confused.

REVEREND ORISON: Glory. Amen.

The beeping continues slowly. Reverend Orison leaves the room. The Marshal is in a trance, still holding the paper. Reverend Orison takes the Marshal's gun.


Equality, Illinois
5:02 PM


An apartment. Hasn't been redecorated since the 70's. Donnie Pfaster is wearing only a pair of tighty-whitey men's shorts. He takes two baggies of women's fingers into the kitchen and puts them into the freezer. There is a knock at the door. Donnie Pfaster answers it. It is the Lady In Red, a higher class call girl than Blueberry was. She is wearing a tight red dress. Her hair is bright red, piled high on her head with tendrils curling at her shoulders.

LADY IN RED: Are you Donald?

DONNIE PFASTER: Yes.

LADY IN RED: I'm from Tip-Top Gentlemen's Service.

He lets her in and closes the door. She looks around the living room.

LADY IN RED: This isn't your place, is it?

DONNIE PFASTER: No. Why?

LADY IN RED: 'Cause I was coming up the stairs and got stopped by the landlord-- like it's any of his business. He told me some Reverend Orison lives here. Now, you ain't no preacher, are you?

DONNIE PFASTER: No.

LADY IN RED: Good. They always like the weirdest things. You know what I mean?

Donnie Pfaster is just staring at her hair and her fingers.

LADY IN RED: You okay?

DONNIE PFASTER: Yes.

LADY IN RED: Something you want to say?

DONNIE PFASTER: Love your hair.


Reverend Orison's apartment, later. The Lady In Red, naked, gets into a full bubble bath and turns off the water. Candles are burning in the room. Donnie Pfaster enters with an armful of hair-care products.

LADY IN RED: What are you doing?

DONNIE PFASTER: Is your hair chemically treated?

LADY IN RED: My hair?

DONNIE PFASTER: I don't know which product to use.

LADY IN RED: You're not using no product-- I'm clean, my hair's clean. If you're going to be that weird about it I ought to just leave.

DONNIE PFASTER: I'm being a gentleman.

LADY IN RED: Well, be a gentleman and get me a towel. I'm going to get out of here.

Donnie Pfaster acquiesces and puts the bottles into the sink. He gets a towel and wraps it around her as she stands. He looks closely at the back of her neck. The hairline is now wet and he sees two different hairlines.

DONNIE PFASTER: It's a wig. They lied to me.

He tears the wig off of her head.

DONNIE PFASTER: You lied to me!

As he grows more violent, the Lady In Red picks up one of the candles and flings the hot wax in Donnie Pfaster's face. She then punches him and he falls to the floor. She runs out of the room and out the front door.


Reverend Orison's hospital room. Mulder and Scully find the Marshal, still in a trance, sitting in the same chair.

SCULLY: Where did he go?

MULDER: Marshal?

No response.

MULDER: Marshal?

MARSHAL: What?

SCULLY: The prisoner... the man you were guarding in this room. What happened to him?

Mulder sees the Marshal's empty holster.

MULDER: He's gone, Scully, so's the Marshal's gun.

SCULLY: You didn't see him?

MULDER: Let's go, Scully.

Scully finds a piece of paper on the table. Written on it are the words, "Don't Look Any Further."

MULDER: What is it?

SCULLY: What does this mean?

MULDER: Did you tell him?

SCULLY: No, I only told you.

MULDER: Oh, he must have... overheard us when we were talking in the hallway.

SCULLY: I didn't mention the name of the song.

MULDER: I'm sure you did.

SCULLY: No, I'm sure I didn't, Mulder.

MULDER: Well... maybe this was meant for you. Don't look any further.


Bathroom. Donnie Pfaster is washing his wax covered face. Reverend Orison cocks a gun behind him.

REVEREND ORISON: Whosoever shedeth man's blood by man shall his blood be shed.

DONNIE PFASTER: What are you doing?

REVEREND ORISON: Taking you home. The wicked... will be punished.


Night. Reverend Orison and Donnie Pfaster standing next to an open grave that Reverend Orison has dug.

REVEREND ORISON: Pray for God's love Donnie. Find the humility in yourself to allow God into your heart. All you have to do is believe. Repent. You'll feel God's love come to show you the way to His heavenly kingdom.

Donnie Pfaster is on his knees, whimpering sofly.

REVEREND ORISON: Are you sorry for what you've done?

DONNIE PFASTER: You...

Donnie Pfaster mumbles.

REVEREND ORISON: What did you say?

DONNIE PFASTER: Never... No... No...

REVEREND ORISON: Why are you crying?

DONNIE PFASTER: I can't... I can't...

REVEREND ORISON: Beg His forgiveness for what you did to those girls. For what you did to all those poor, helpless girls.

DONNIE PFASTER: My violence is always waiting... for an instant. For when His back is turned. You can see it now.

REVEREND ORISON: Are you crying for your sins? Or for yourself?

DONNIE PFASTER: No, Reverend. I cry for you. Because you cannot kill me.

Donnie Pfaster's face shifts into that of a demon.


Gravesite, next day. Crime scene team is uncovering Reverend Orison's dead body. Mulder and Scully observe.

MULDER: It's funny when all is said and done, there's not much mystery in murder.

SCULLY: And for that I owe you an apology, Mulder.

MULDER: What do you mean?

SCULLY: Well, you were right. I was looking too hard for connections that weren't there. Orison was a murderer, plain and simple. He liberated those prisoners so he could bring them out here and pass judgment on them.

MULDER: I guess in his own twisted way he was making good with his God. Glory, amen. Let's go home, Scully.

SCULLY: You know, Donnie Pfaster placed the call to the police that led us out here. It's almost like he's begging us to hunt him down.

MULDER: This X-File is over... lying dead there in a grave he dug himself. Let's let the US Marshals take over from here. Don't look any further, Scully.


Scully's apartment. That evening? Donnie Pfaster enters and looks around. He goes into her bedroom and takes her Bible from the chest at the foot of her bed and places it in a drawer. Scully enters the apartment and turns on the lights in every room. She sets her keys on the table, her gun on the dresser, then begins taking off her suit and sleeveless navy top as Donnie Pfaster watches from the closet. She changes into a pair of gray flannel pajamas while Donnie Pfaster continues watching from the closet. Very creepy. Scully sees that her clock again says 6:66, realizes something is wrong and flings open her closet door. Donnie Pfaster grabs her.

Mulder's apartment. His phone rings. The answering machine picks up.

MULDER'S MESSAGE: This is Fox Mulder. Leave a message after the ...

Beep .

MARSHALL DADDO: Agent Mulder, Marshall Joe Daddo in Marion. Just talked to a call girl who i.d.'d Donnie Pfaster as an attacker. Claims Pfaster got real upset when she was wearing a red wig. Upset she wasn't a redhead. This mean anything to you? Appreciate a call back.

As the machine disconnects, Mulder enters his apartment. He does not check his messages.

Donnie Pfaster grabs Scully by the throat. She fights back and manages to gouge his eyes, drawing blood. She punches him, goes for her gun. It gets knocked to the floor. He flings her against the bureau mirror, breaking it. The pieces shatter all over the floor. She kicks him, breaks free, dumps one of the bookcases on top of his head, and runs to the phone in the hall and dials 911. Donnie Pfaster chases her and flings her to the floor and lands on top of her.

SCULLY: Go back to hell!

Donnie Pfaster has her hands behind her back. He looks at her fingers.

DONNIE PFASTER: Who does your nails, girly girl?

SCULLY: Let me go! The only reason why you're alive is because I asked the judge for life. The only reason why you're alive is because we didn't kill you when we could.

DONNIE PFASTER: You're the one that got away. You're all I think about.

SCULLY: I'm a federal agent. You do anything to me and they will not give you a break this time.

DONNIE PFASTER: I'm going to run you a bath.

Scully screams. He clamps his hand over her mouth.

Mulder's apartment. He is in his bathroom brushing his teeth. He goes into his bedroom to set his radio alarm. The last alarm was set at 7 PM. Hmm. He sets it for 5 AM. While setting it, he hears a fragment of the song "Don't Look Any Further." He turns it back on while he finishes brushing and swallows the toothpaste. He looks thoughtfully at the radio.

MUSIC: Don't look any further, Day-o, umba day-o, Mambu ji ay-o...

Scully's apartment. Donnie Pfaster has tied Scully's arms behind her back with her own pantyhose. Another pair has been used to gag her. He drags her, feet first, into a closet.

DONNIE PFASTER: Now, be good and don't cause me any problems.

Donnie Pfaster closes the closet door and goes into her bathroom. Scully hears water running and her phone ringing. Donnie Pfaster pushes "play" on her CD player. The song, "Don't Look Any Further" comes on.

Mulder is lying in his bed with the phone to his ear. Finally, he hangs up and gets up.

Donnie Pfaster is filling Scully's tub with water and bubble bath.

Scully is in the closet standing up and turning the knob to get out of the closet.

Donnie Pfaster tests the bath water and turns it off. He looks at her shampoo. Willow Lake, made by the Lamour Corporation in Minneapolis.

MUSIC: Ooh Oh, whoa, whoa, Oh Someone to count on, In a world ever changin', Here I am, Stop where your standin'

Scully is hiding under the bed as Donnie Pfaster passes her into another room.

MUSIC: What you need is a lover, Someone to take over, Oh, girl Don't look any further, And it's strange, When you think of the chances, That we've both been in a state of mind, Too cool to be careless Lookin' for the right thing

Scully, grunting, has rolled under the bed toward her gun which she spotted earlier from the closet. Meanwhile, Donnie Pfaster, in search of candles, has gone into her kitchen , taken out a silverware caddy and removed a knife and a pair of scissors.

MUSIC: Oh, baby, Don't look any further, Tonight we're gonna take a trip to paradise, Rockin' all night long Baby, Daylight Daylight I'll still be lookin' in your heavenly eyes, And we'll go on and on

Scully is close to her gun, but she freezes in fear, blood trickling out of her nose as Donnie Pfaster passes her again.

MUSIC: Day-o, umba day-o Mambu ji ay-o, Don't look any further, Day-o, umba day-o Mambu ji ay-o, Don't look any further

In the bathroom, Donnie Pfaster is lighting a lot of candles. There must be 40-50 in the room that he has collected throughout the apartment.

MUSIC: Someone to count on In a world ever changing, Here I am, baby, Stop right where you're standing, What you need is a lover, Someone to take over, Here I am, babe, Don't look any further, further...

Scully gets her feet through her hands, putting her hands in front of her. She keeps crawling to the gun over the shards of mirror on the bathroom floor. In the living room, Donnie Pfaster turns off the stereo and heads for Scully. Slow motion sequence starts. Mulder enters the front door and draws his gun on Donnie Pfaster. He appears to say "Put your hands up!" and puts his hand on his shoulder. Donnie Pfaster does not obey. Instead, he turns his head as Scully enters the room, her hands unbound, the gag around her neck and her gun hanging loosely in her right hand. She is focused solely on Donnie Pfaster. It looks like Mulder asks, "Did he hurt you?" We see Scully's face illuminated by a gunshot, Donnie Pfaster has a slight reaction as the bullet passes through him, Mulder turns as the overhead light is blown out by the bullet, then we see the spent cartridge fall to the floor. Donnie Pfaster falls dead to the floor. Mulder stares at Scully who is still holding the gun where she fired it into Donnie Pfaster's ribcage. She is horrified at what she has done.


Scully's apartment, later. Crime scene. Mulder has been talking to a policeman. He sees Scully, now with a shawl wrapped around her pajamas, go into her bedroom and close the door.

MULDER: Excuse me.

COP: Yeah. Sure.

Scully closes the window. Mulder enters Scully's bedroom.

MULDER: If you want to pack some things, we can get out of here.

SCULLY: Yeah.

Scully pulls her Bible back out of the drawer.

MULDER: You can't judge yourself.

Scully sits on the bed.

SCULLY: Maybe I don't have to.

MULDER: The Bible allows for vengeance.

SCULLY: But the law doesn't.

MULDER: The way I see it... he didn't give you a choice. And my report will reflect that... in case you're worried. Donnie Pfaster would've surely killed again if given the chance.

SCULLY: He was evil, Mulder. I'm sure about that, without a doubt. But there's one thing that I'm not sure of.

MULDER: What's that?

SCULLY: Who was at work in me. Or what... what made me... what made me pull the trigger.

MULDER: You mean if it was God?

SCULLY: I mean... what if it wasn't?

Mulder has no answer.