Tainted Sacrifice

Posted by Rache on October 24, 2001 at 03:31:37:

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 (and corrupted) for your personal enjoyment by me, Rachael from a totally unrelated X-Files episode transcript maintained by Dr. Weesh on his website, The X-Files Scripts Archive

[I wrote this using characters and images originally created by Chris Carter, if he doesn't like it, so fucking what? He'll get over it.]

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

SCENE 1

PINK CADILLAC NIGHT CLUB

BOZEMAN. MONTANA

An attractive young woman sits alone at a crowded singles bar. A dark haired man speaks to her but his voice is lost beneath the music. The woman smiles and nods her head as the man takes her hand.

SCENE 2

BLUE MOON MOTEL, ROOM 119

(A man and a woman can be heard talking as the camera pans across dimly lit motel room carpet, following a trail of carelessly tossed clothing to the bed.)

MAN: Mmmm...Baby, you look good enough to
eat!

WOMAN: (giggling) So what are you waiting for then?

MAN: Like this baby, turn around.

WOMAN: (moaning) Uhhhh...Yessss!

(The same man and woman from scene 1 are now in bed, the woman on her hands as knees and we see JOHN GREYHORSE kneeling behind her, pulling KAREN GILES onto his erection.)

JOHN: You like it baby?

(Close-up of woman's face. The blonde girl moans and sighs loudly, obviously enjoying herself.)

KAREN: Ohhh Ohhhh Yes! More! Uh-huh! Ahhhh...Oh! Oh...Wha...What? It...Oh! You're huuuurting me!

(Guttural, growling animal sounds)

KAREN: (looking over her shoulder - her eyes open wide in terror) Ahhhhh! God please! Nooooooo!

(Close-up of what Karen is looking at, an animal's face, like a wolf. The jaws open wide showing large sharp teeth dripping saliva as it growls and suddenly clamps down on the side of Jill's neck and her scream becomes a muffled gurgling sound. Camera pans away from the bed where we can see a large dog-like animal hunched over the woman, still plainly engaged in sex while the sound of tearing flesh fills the room.)

SCENE 3

FBI HEADQUARTERS

WASHINGTON, D.C.

(A man is typing on a computer and several voices can be heard in the background. We see Scully walking through a busy office)

(Mulder is sitting, staring at a centerfold in "Hanky Panky" magazine. Scully walks in the door and sees what Mulder is looking at, she pauses and then puts her case on a desk and walks beside Mulder)

SCULLY: Working hard Mulder?

(Mulder turns the magazine around so that Scully can see it better)

MULDER: This woman claims to have been taken aboard a spaceship and held in an anti-gravity chamber without food and water for three days.

SCULLY: Anti-gravity's right. (Mulder throws the magazine onto the desk) Sorry to interrupt your serious investigation, is this what you called me in for on a Sunday?

MULDER: No, I think I've got a handle on this one. But you might want to look at this.

(Mulder picks up a file and hands it to Scully)

SCULLY: (Opening and reading) Oh, bestiality. Mulder, a woman is attacked by a large dog during sexual intercourse? Was it a space dog?

MULDER: Five victims Scully. Three over the last two weeks in the greater Bozeman area. All found in motel rooms, raped and murdered.

SCULLY: Raped and murdered by a (reading aloud) "...large canine; hair, saliva, and semen consistent with canis lupis." Little Red Riding Hood? What do the police say?

MULDER: Grandma never looked like Karen Giles. Police have publicly called it an animal attack. It showed up in the Violent Crimes computer and I flagged them.

SCULLY: You flagged them. You were looking for them Mulder?

MULDER: There were two previous victims. In 1954 a woman in Ferris, Montana was attacked, raped and killed by a large predator. In 1978 A second victim in Casper, Wyoming. Remember this?

(Mulder hands Scully another file, it's the X-File from Browning, Montana (episode 1X18 SHAPES)

SCULLY: (confused) But that was, that was completely different. There was nothing sexual involved. It was localized and...

(Mulder cuts her off)

MULDER: We didn't quite have all the facts Scully. Whatever, whoever this is, he's back. Want to go to Montana?

SCULLY: (Sighs) Not particularly.

SCENE 4

BOZEMAN, MONTANA

(Mulder and Scully are in the darkened office of police detective JIM HARTLEY he is speaking as he flashes slides from a projector.)

HARTLEY: (voice over) The perpetrator is using an alias "John Ripley". (slide of an artist drawing of a man) He checks into a different motel each time using cash. He cruises the local singles scene, finds a girl he likes and brings her back to his room. He keeps a large dog, possibly a wolf out of sight until he is ready to do his thing. The animal has forced sex with the victim and in the process attacks her. (slides flash by quickly of horrible and bloody crime scenes)

SCULLY: Have you found prints?.

HARTLEY: All kinds, but no matches. Whoever this guy is he's never been arrested or served in the military. (turns on lights) We've flashed his picture, but the descriptions given by the motel clerks was too vague to be of any real use. Medium height, medium build, dark hair, dark eyes, no distinguishing marks. He could be anyone.

MULDER: Could he be an Indian?

HARTLEY: Lot's of Indians around here Agent, this isn't Washington D.C.

MULDER: We have Redskins too. I'm only asking because...(Scully interrupts Mulder)

SCULLY: Autopsy of Karen Giles indicates trauma to the vagina consistent with rape. Bruising, lacerations, presence of human seminal fluid and semen typed to the Common European Wolf. Hair was also found, also from a canine. Wounds to the throat, breasts, and stomach. Approximately 7 kilograms of human tissue removed, presumably consumed by the predator. Toxicology is clear, some elevated blood alcohol, but otherwise nothing to suggest she was drugged.

MULDER: (shuffling through photographs of the dead women) No other connection between the victims?

HARTLEY: No, nothing we've been able to find. One of them was college student, another a high school teacher and the third was a divorced mother of two. About all they really had in common was wanting to have a little fun.

MULDER: And red hair. (He looks meaningfully at Scully. All the victims were redheads)

SCENE 5

(BIG SKY LOUNGE)

(Scully is undercover in a singles bar. Sitting alone with a drink in front of her, looking around nervously. Mulder's voice can be heard as he speaks to her through an earpiece in Scully's left ear. She has a microphone hidden in her beneath her blouse.)

MULDER: (voice over) Don't worry Scully, we're right outside. Can you see Nieman?.

(Scully looks around and sees Detective MARK NIEMAN watching over her from a nearby table. He offers a slightly reassuring smile.)

SCULLY: Yes. I see him. Mulder, this is like looking for a needle in a haystack. Half the men in here match the description of our suspect.

MULDER: But you're the needle Scully. He's running out of bars and it's been almost a week.

SCULLY: What do you mean?

MULDER: He's hungry.

HARTLEY: You're partner doesn't sound too happy.

MULDER: She doesn't get out very much.

SCULLY: I heard that.

CUT TO:

(JOHN GREYHORSE moving through the bar. His eyes are fixed on the back of a woman looking very much like Scully, same hair, same blouse. He weaves through the crowd and places a hand on her shoulder. The woman turns around and we see it is not Scully.)

SCENE 6

OVERLAND MOTEL

(Police have cordoned off an area around a cabin with yellow "Do Not Cross" tape. The coroner is wheeling a victim out of the room on a stretcher, the body is covered. Mulder and Scully arrive, showing there badges and Mulder stops the coroner.)

CORONER: I'll do an autopsy, but I can tell you right now it's just like the others.

SCULLY: (pulling back the cover) Oh.

(Mulder looks briefly. Flash of victim, we see it is the woman from scene 5, her throat ripped open.)

CORONER: Not a pretty sight. (Covers her back up and wheels her away)

(Mulder and Scully enter the cabin. The bed is a mess, soaked with blood.)

HARTLEY: Amy Cadrigan, 27, single. Last seen at the "Country Bumpkin" with two friends. She left about 11pm with a non-descript man. The motel clerk said John Rendell, AKA John Ripley, paid cash for this cabin around 4:30pm three days ago. Thinks the suspect was driving a white Honda Accord. No plates. He did not see the suspect enter or leave after that. He did not see the victim enter and the room was found at 8:45am this morning by the maid.

MULDER: (Looking around and finding a large, thin piece of skin like material.) Do you know what this is Detective?

SCULLY: Oh my God. (She looks at Mulder and he looks back grimly)

HARTLEY: Dried skin. We found the same thing at the other scenes, but it didn't seem to mean anything. Why? Mean something to you?

SCULLY: We've seen this before, eight years ago near Browning, Montana. It's, er...

MULDER: A Manitou. An Indian spirit overtakes a man by night, not by full moon. But when its blood lust builds to an uncontrollable level, a man changes to an animal, a wolf. It kills, releasing the savage energy. The man returns to his true self, unaware of what has happened. The cycle begins anew the next day. This continues until death. Apparently, this change is brought on by sexual excitement.

HARTLEY: Uh-huh. Okay, so you're telling me a werewolf is doing this?

SCULLY: I know it seems implausible, but lycanthropic dementia is a well documented disorder and I, er, we've seen it before.

HARTLEY: (Looking very skeptical) Look, I appreciate your help but I think we have a handle on the situation. I don't believe further FBI assistance is required. It's a man with a dog. Not Lon Chaney. Not this, this Manitou thing. Okay?

MULDER: He won't stop.

HARTLEY: Thank you for your help.

SCULLY: Come on Mulder. (Tugging at his arm while Mulder and Hartley stare at each other)

SHERIFF TSKANY: Thought I smelled FBI.

(Mulder, Scully, and Hartley turn around and see Sheriff Tskany from the Trego Indian Reservation standing in the doorway.)

SCULLY: (Surprised) Sheriff Tskany? How, uh, what...?

(Tskany holds up a faxed picture of the suspect. He looks distinctly unhappy to be there.)

MULDER: You got my fax. Good. (He walks over to shake Tskany's hand.) Sheriff Tskany, this is Detective Hartley. You remember Agent Scully.

HARTLEY: What the hell is this?

SCENE 8

BOZEMAN P.D. SQUAD ROOM

(Mulder, Scully, and Tskany are in the back as Hartley briefs a room full of police officers. A large photograph of John Greyhorse is on the wall behind him.)

HARTLEY: Suspect's name is John Greyhorse. He's American Indian, 28 years of age. He left the Trego Indian reservation a month ago and is using a "Letters Etc." mailing center for an address. He checks his mail every 3 days and if he sticks to the pattern we'll see him today. Commander Johnston will deploy SWAT and assume tactical command. I will be the scene commander. We want him alive if possible, but he has already killed at least four women. We won't risk letting him get away.

(Tskany looks quickly at Mulder who looks away)

SCENE 8

STAKEOUT OF LETTERS ETC.

EMPTY OFFICE ACROSS THE STREET

(There is a map of the city and a lot of radios and telephones on a desk. Mulder, Scully, Hartley, and Johnston stand around looking down at it. Tskany stands by the window looking across the street to the "Letters Etc." office.)

JOHNSTON: (speaks into walkie-talkie) Gun One, Gun Two report.

CUT TO:

(A rooftop where a sniper is sweeping his scope across the front of the building)

GUN TWO: (speaks into walkie-talkie) Gun Two in position.

CUT TO:

(A different rooftop, a different sniper focusing on the front of the "Letters Etc." doorway.

GUN ONE: (speaks into walkie-talkie) This is One, in position.

CUT TO:

(Empty office being used as headquarters)

HARTLEY: Your guys set inside?

CUT TO:

(The "Letter's Etc." office, three policemen in SWAT gear are crouched in the sorting room. One of them peers through the doorway into the store itself.

JOHNSTON: (on walkie-talkie) Team Three, report.

TEAM THREE MEMBER: (speaks into walkie-talkie) Three all set, we're ready to go Lead.

CUT TO:

(The empty office being used as headquarters. Scully walks over to where Tskany is standing. They both look through the window)

TSKANY: John was a good kid. He kept the old ways, not like a lot of them.

(Scully doesn't say anything.)

TSKANY: He was looking for medicine, a way to become strong. He started talking about getting back what was ours. Nonsense like that. He went out, into the wilderness and called the spirits to him. He opened himself to the manitou, to make him stronger.

SCULLY: I’m sorry.

TSKANY: (looks at her sadly) This life makes us weak. The reservation, history. John wanted answers, but we didn't have the ones he liked.

CUT TO:

(Gun Two, crosshairs fixed on John Greyhorse as he comes around the corner a block away)

CUT TO:

(The empty office being used as headquarters)

GUN TWO: (on walkie-talkie) I have the suspect. Gun Two on target.

HARTLEY: Hold your fire, lets see if we can do this easy.

JOHNSTON: (into walkie-talkie) Gun Two, Lead, weapons tight. Team Three, standby.

GUN TWO: (on walkie-talkie) Roger Lead

TEAM THREE: (on walkie-talkie) Three standing by

(Mulder moves over towards Scully and Tskany as John Greyhorse comes into view through the window)

TSKANY: (quietly) No answers

(Tskany moves to the door and suddenly opens it, stepping outside before anyone can react.)

TSKANY: John!

(John Greyhorse stops, looking across the street and his face registers surprise as he recognizes Sheriff Tskany. He bolts up the street and turns into an alley as shots ring out, the bullets narrowly missing him.)

(Mulder and Scully run out the door. Scully pauses to look at Tskany's sad face as Mulder sprints across the street and disappears down the same alley John entered.)

SCULLY: Mulder! Mulder! (Draws her gun and follows)

SCENE 9

ABANDONED BUILDING

(Mulder with gun drawn carefully making his way through the dimly lit building. There is a sound to his left, he moves that way)

(Scully enters the building, moving through debris strewn rooms with her gun in front of her. She hears muffled scuffling sounds and moves toward it.)

SCULLY: Mulder!

(Mulder hears Scully and turns. John hits him across the shoulders with a piece of pipe. Mulder moans loudly and drops his gun and goes down as John Runs off.)

(Scully comes around a corner and catches movement from the corner of her eye. She turns and sees John jumping down at her from a large crate. She fires her gun as John lands on her, knocking Scully's gun across the floor.)

SCENE 10

DETECTIVE HARTLEY'S OFFICE

(Mulder is pacing, obviously unhappy, pressing a bag of ice to his neck. Tskany is standing in a corner and Hartley is hanging up his telephone.)

HARTLEY: Nothing yet. We have every man available canvassing the area. I put out an APB for anything white with 4 doors.

MULDER: He'd take her to a motel.

TSKANY: Not his place?

MULDER: (Looking sharply at Tskany) He doesn't have a place. He's been living off his victims, staying in the motels until he has to move on. That's why he rents them three days in advance.

HARTLEY: We're checking everything in the county, believe me. Every motel, everyplace. We'll find her.

(Telephone rings, Hartley answers)

HARTLEY: No sign of the car? Thanks, hold your position. Get everyone out of sight. Right. (Hangs up the phone) Suspect got a motel room yesterday just south of town under the name "John Redmond". He's probably on his way there now, we're going to set up again and take him down this time. (Looks at Tskany) Why don't you go on home Sheriff, I think you've helped enough today.

(Hartley leaves to get his men together. Mulder and Tskany look at each other.)

TSKANY: I'm sorry FBI, maybe...(His voice trails off and he walks out the door as Mulder's cell phone rings.)

MULDER: (into phone) Mulder.

AGENT: (on phone) I got something. Scully's credit card was used to pay for a motel room in Fort Falls 30 minutes ago.

MULDER: 30 minutes ago? You sure?

AGENT: Yep. Gooseberry Motel, Route 16 Fort Falls, Montana.

MULDER: Thanks.

(Mulder hurries out the door after Tskany)

SCENE 11

TRAVELING NORTH ON ROUTE 16

(Mulder and Tskany are riding in a rental car as the sun sets. Mulder is driving very fast)

TSKANY: How do you know they're up here?

MULDER: I flagged Scully's credit cards, it's standard procedure in a kidnapping. John used it about an hour ago to get a room.

TSKANY: So Hartley and his men?

MULDER: Are staking out the wrong place.

SCENE 12

GOOSEBERRY MOTEL

(Camera close up of a woman's hands bound together and tied to the headboard of a bed. Pan along her arms to Scully's face. Her eyes are wide open and obviously she is afraid. She has been gagged with a large piece of green duct tape. The camera continues to move slowly along her side, it is apparent she has been completely undressed. John has just finished tying her ankles to the legs of the bed, using Scully's stockings.)

(Scully struggles, pulling at the bonds as she makes a muffled yelling sound.)

JOHN GREYHORSE: I'm sorry, but it's better this way. I just can't help it, I can't stop it. (John starts unbuttoning his shirt) The manitou is the spirit of the wolf and he hungers. He fills me and we hunger. Together. You don't know what it's like, how it feels. The manitou is ancient, he was born with the earth.

(Scully's eyes are filling with tears as she breathes rapidly through her nose, listening helplessly)

JOHN GREYHORSE: The spirit of the Manitou is coming. (John is removing his trousers) He will find the firewoman to be his guide in this place. Who will take him into herself and bear his seed. I hope you will be that woman, so many others have failed.

(John moves behind Scully, positioning himself between her spread legs)

JOHN GREYHORSE: (Leaning close to Scully, his cheek on hers so that we see their faces together) If you fail he will devour you.

(John's face moves out of camera, view remains close-up of Scully)

(Scully closes her eyes tightly as John grunts, apparently forcing himself into Scully's sex. Her body moves, her head sliding back and forth slowly while we hear John above her)

JOHN GREYHORSE: Uh uhh, the Manitou is...Uhh close now coming....Uh close do you...Do you feel it?

(Camara view to John's face. Strained look and his face is flushed, eyes closed. He groans and opens his eyes, they are red, inhuman)

SCENE 13

TRAVELING NORTH ON ROUTE 16

TSKANY: (He has a small map opened up and is looking at underneath the car dome light) Should be almost there, another 2 or 3 miles.

(Tskany puts the map down and pulls out his revolving, opening the cylinder and checking the bullets. He looks at Mulder who is tight-lipped, concentrating on the road.)

SCENE 14

GOOSEBERRY MOTEL

(Room is filled with animal like sounds. Growls and grunts. Camera view of Scully's face, John's hand is on the bed in the foreground propping him up, it is slightly out of focus. Scully is struggling as John continues to rape her. He lunges forward repeatedly and as he does Scully screams into her gag, eyes wide and filled with tears.)

JOHN GREYHORSE: The Manitou! The Manitou! He's...He's...Coming!

(View dissolves back, Scully's face coming out of focus and John's hand is now clearly changing shape. It transforms from a human hand to a large wolf's paw as Scully watches it horrified. She begins to struggle, her face straining as she screams against her gag.)

(Camera view shifts so that we can see John, now half-man, half-beast, straddling Scully and pushing himself into her frantically. His face changes and a wolf's snout appears, large white teeth and a long red tongue dripping saliva. John lifts his head and begins a groan which changes into a long wolf's howl. He looks down and opens his mouth wide, preparing to rip into Scully's throat.)

(Camera view to Scully's terrified face as she looks weakly over her shoulder at John.)

(Camera view to the beast hunched over Scully as several shots ring out. It is knocked off of Scully and flung off the bed, two more shots and the camera pans over to show Mulder and Tskany in the doorway with their weapons drawn.)

(Mulder rushes over to Scully and pulls the tape off her mouth, he cradles her head in his arms as the camera moves to follow Tskany. He bends down next to a quite normal and dead John Greyhorse, shot through the chest. Tskany looks and Mulder and Mulder looks at him for a second before turning back to a passed out Scully.)

SCENE 15

FBI HEADQUARTERS

WASHINGTON, D.C.

(Scully is sitting at her desk typing on her computer keyboard. Mulder walks up to her, his voice is gentle, sounding concerned beneath his words)

MULDER: I was just about to get some lunch, Scully, feel like getting out?

SCULLY: (Looks at her watch) Oh, uh, I didn't realize it was so late. I, er, I have other plans. I have to do some errands.

MULDER: Okay. Um. Is everything alright? I mean...

SCULLY: Yeah. Sure, Mulder, it's okay. Really. I'll see you after lunch.

(Mulder smiles a little and walks away. Scully watches him disappear around the corner and she pulls open her desk drawer and takes out a newspaper. She dials some numbers, looks around a little nervously as she waits for an answer. A woman's voice)

VOICE: Good Morning, PetSmart, may I help you?

SCULLY: Hi, I'm Dana Scully, I called earlier.

VOICE: Hi Dana. Right, the Siberian Husky. Did you make up your mind already?

SCULLY: Yes. I'll take him. About 6:00 tonight okay?

VOICE: Sure, that's fine, we're open until 7:00. He's going to be a wonderful pet, you'll just love him. Did you want to get him neutered, if you do I can make an appointment with...

SCULLY: No! No, that won't be, I mean I think he'll be fine uh, intact, the way he is.

VOICE: Of course, he'd be fine for breeding. Beautiful dogs, I know you'll be so happy with him.

SCULLY: Yes.

[THE END]