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#701 : La Sixième Extinction (1re partie)

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Mulder, qui a été interné à cause de la violence de son comportement, a une activité célébrale anormalement élevée. Pour tenter de le guérir du mal qui le ronge, Scully se rend en Côte d'Ivoire où le vaisseau parsemé de tablettes a été trouvé. Avec l'aide de la population locale, elle tente désespérement de les déchiffrer et découvre que plusieurs passages du Coran et de la Bible se trouvent sur ces tablettes d'origines inconnues. Pendant ce temps, Skinner fait appel à Kritschgau afin d'aider Mulder...

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4.67 - 3 votes

Titre VO
The Sixth Extinction

Titre VF
La Sixième Extinction (1re partie)

Première diffusion
07.11.1999

Première diffusion en France
07.09.2000

Vidéos

The sixth extinction - Trailer (VO)

The sixth extinction - Trailer (VO)

  

Scully rend visite à Mulder, hospitalisé, en rentrant de Côte d'Ivoire (VO)

Scully rend visite à Mulder, hospitalisé, en rentrant de Côte d'Ivoire (VO)

  

Photos promo

Dana Scully en plein travail

Dana Scully en plein travail

Diana Fowley au chevet de Mulder

Diana Fowley au chevet de Mulder

Mulder attaque Skinner

Mulder attaque Skinner

Mulder est hospitalisé dans un état grave

Mulder est hospitalisé dans un état grave

Scully au chevet de Mulder

Scully au chevet de Mulder

Scully et le Dr Amina Ngebe

Scully et le Dr Amina Ngebe

Un repos bien mérité

Un repos bien mérité

Plus de détails

Réalisation:
Kim Manners

Scénario:
Chris Carter

Guest stars:
Mimi Rogers (l'agent Diana Fowley)

John Finn (Michael Kritschgau)

Michael Ensign (Dr. Barnes)

JoNell Kennedy (Dr. Amina Ngebe)

Warren Sweeney (Dr. Harriman)

Informations classées X :

- L'épisode contient un certains nombres de références religieuses dont une à la sourate 75 du Coran dont le titre " Sourate al-Qari’ah" signifie "La Résurrection". La sourate traite de la catastrophe qui s'abattra fatalement sur l'Humanité.

 

En Afrique, Scully aidée par une jeune professeur de biologie Anima Ngebe cherche le moyen de sauver Mulder mais aussi une explication à son état. Elle essaye de traduire les inscriptions qui se trouvent sur la coque du vaisseau spatial échoué sur une plage de Côte d'Ivoire. Là-bas, elle est le témoin de faits inexplicables relatifs aux dix plaies d’Égypte (une attaque d’insecte, une mer de sang, le retour un mort dans le monde des vivants…) et voit apparaître, avant chaque désastre, un homme noir renvoyant à la figure de l'Homme Primitif.

De son côté Skinner veille à la santé de l’agent Mulder qui souffre d’une activité cérébrale anormale et inexplicable. Transporté à l'hôpital et examiné, les docteurs ne peuvent expliquer son état et préfèrent le placer en isolement. Mulder, très agité, est très difficile à calmer et n'a pas dormi depuis 36h. Walter veut le voir et est conduit à sa cellule. Ne parvenant plus à communiquer avec l'extérieur, il se jette sur son supérieur et l'agresse. Il faut plusieurs infirmiers pour pousser Fox à relâcher sa prise sur Skinner. En sortant, secoué, de la cellule d'isolement de son ami, il se rend compte que celui-ci a demandé son aide comme le prouve le petit mot qu'il lui a donné. Il retourne donc le voir, un peu plus tard, alors qu'il est dans une phase de lucidité. Mulder, qui ne peut pas parler, écrit un nom sur sa main: Kritsghau. Skinner se rend donc à l’appartement de Kritschgau pour lui demander son aide même si il ne comprend pas pourquoi Mulder à besoin de lui. Réticent au début, ce dernier finit par accepter de venir voir l ‘état de Mulder. Une fois sur place, Kritschgaufait quitter sa chambre à Mulder pour le conduire dans une autre pièce où il pratique quelques tests (il diffuse sur des écrans des images dans un ordre aléatoire et demande à Mulder de savoir à laquelle il pense) et en conclut qu'il n'est pas malade. Son cerveau est "simplement" surchargé et qu’il peut lire dans les pensées. Il anticipe chacune des pensées de Kritschgau. Il décide alors de lui injecter du phénytoïne pour ralentir son activité cérébrale. Quelques instants après, Mulder reprend conscience et peut communiquer avec les autres. Il demande à voir Scully mais Skinner ignore où elle se trouve. Mulder leur apprend ensuite qu'il a fait des découvertes grâce à ses nouveaux pouvoirs : il sait que Diana travaille pour le compte du Fumeur et comprend que Skinner est en lien avec Krycek à cause des nanites que ce dernier a injecté dans son sang. Soudain, ils entendent des bruits de pas : Diana est à la recherche de son ex-amant. Ils ramènent Fox en vitesse dans sa chambre et Skinner prend des mesures pour que Fowley soit tenue aussi loin que possible de son ami (ce qui, évidemment, ne plait pas du tout à Diana!).

Pendant ce temps, Scully est toujours à la recherche d’un remède pour Mulder et est rejointe par le Docteur Barnes. Bon grès malgré, ils cohabitent et travaillent ensemble. Il lui explique que le vaisseau est extraterrestre et qu’il détient le pouvoir de réssusciter les morts. Il lui dit aussi que Dieu n’existe pas et que l'Humanité résulte d'une création extra-terrestre. Scully a, évidemment, du mal à le croire mais est forcée de revoir en partie ses positions quand elle parvient à traduire (avec le concours de Barnes et Amina) une partie des inscriptions notées sur le vaisseau spatial et constate qu'elles contiennent des informations sur la génétique et les diverses religions terrestres dont la sourate 75 du Coran. Cependant le comportement de Barnes devient de plus en plus erratique et, après avoir découvert que l'énergie émise par le vaisseau pouvait réssuciter les morts (en l'occurence des poissons), il est pris d'un accès de folie. Au cours de cet épisode, il séquestre Scully et Amina et les force à travailler pour lui. Une nuit, les deux femmes prennent le dessus sur lui, l'assomme et s'enfuient. Dana, perturbée et très inquiète pour Mulder, décide de rentrer aux USA et de suivre le conseil que lui a donné l'Homme Primitif soit s'éloigner de tout ça. Quand il reprend conscience, Barnes tue son chauffeur afin de ne pas partager sa découverte mais celui-ci est ressuscité par le pouvoir du vaisseau et tue à son tour le docteur Barnes.

A l'hôpital, Kritschgau et Skinner sont surpris par Fowley pendant qu’ils administrent à nouveau du phénytoïne à Mulder. Ils n'ont pas le temps de terminer leur besogne et Mulder fait donc une crise qui le plonge dans un état végétatif. Ils sont tous les deux virés de la chambre de Mulder avec interdiction de revenir, aux risques de sanctions disciplinaires. Fowley, elle, reste au chevet de Mulder. Elle lui fait une déclaration d’amour et lui explique qu’elle est au courant qu’il sait qu’elle de mèche avec l’Homme à la cigarette.

Scully est enfin de retour à Washington après plus de 22 heures d’avion. Son seul objectif est de voir Mulder. Quand elle arrive dans le bureau de Skinner. Il lui explique que plus personne ne peut le voir à part sa famille, par sa faute. Furieuse, elle lui dit qu’elle n’est pas seulement sa partenaire mais aussi son médecin personnel et que grâce à sa elle pourra lui rendre visite.'elle n'hésitera pas à faire valoir ce passe-droit pour lui rendre visite. Elle se rend donc à l'hôpital où, après quelques explications avec les gardes qui surveillent la porte de Mulder, elle finit par entrer. Émue par le fait de voir Mulder dans cet état végétatif, elle lui prend la main et lui explique (en larmes et avec des trémolos dans la voix, scène très très touchante) ce qu’elle a trouvé : la clef de toutes les affaires non-classées. Elle le supplie de tenir le coup et de revenir près d’elle car c’est lui qui devrait découvrir ce qu’elle découvre parce que c’est ce qu’il recherchait depuis toute ces années.

En Afrique, Ngebe, marche sur la plage avec des policiers africains, ils trouvent le corps sans vie du Docteur Barnes. La caméra s’éloigne et on découvre que le vaisseau a disparu...

SCENE 1
IVORY COAST, WEST AFRICA


Beach. Night. Scully is alone, working by lamplight in a tent, looking at the rubbing of the artifact which first affected MULDER. She is wearing linen pants and a white t-shirt. More on that later. Her hair is up, loosely falling around her face

SCULLY (voiceover) : I came in search of something I did not believe existed. I've stayed on now, in spite of myself. In spite of everything I've ever held to be true. I will continue here as long as I can... as long as you are beset by the haunting illness which I saw consume your beautiful mind. What is this discovery I've made? How can I reconcile what I see with what I know? I feel this was meant not for me to find but for you ... to make sense of -- make the connections which can't be ignored... connections which, for me, deny all logic and reason. What is this source of power I hold in my hand -- this rubbing -- a simple impression taken from the surface of the craft? I watched this rubbing take its undeniable hold on you, saw you succumb to its spiraling effect.

She takes off her glasses tiredly. A large locust-like bug lands on the rubbing.

SCULLY (voiceover) : Now I must work to uncover what your illness prevents you from finding. In the source of every illness lies its cure.

SCULLY gets up and turns down the lamp which seems to be attracting the bugs. As she does, she gasps as she sees the reflection of a PRIMITIVE AFRICAN MAN holding some sort of staff standing in the entrance to the tent, but when she turns he has disappeared.

SCULLY: Who's there? Who's there?!

There is no answer, only the sound of the surf. She turns the lamp back up, then picks up a very large machete and goes out to the beach to investigate. Very tight white T-shirt. The insects now cover her papers inside the tent. Finding no one outside, she goes back into the tent and is horrified at the sight of hundreds of the insects swarming around the tent. She starts to turn down the lamp, but then screams and waves her arms as they surround her. The lamp is knocked to the floor


SCENE 2
GEORGETOWN MEMORIAL HOSPITAL
WASHINGTON, DC

MULDER is seen on a video monitor in a padded cell going in and out of a fetal position. DR. HARRIMAN and SKINNER watch him. Music is sad.

DR. HARRIMAN: He's been quiet for the last 36 hours, but he doesn't sleep. There's activity in the temporal lobe we've just never seen. It won't allow his brain to rest or shut down, manifesting in episodes of aggression ... sometimes against himself.

SKINNER: You can't sedate him?

DR. HARRIMAN: Yes. We slow him down for short periods and put him in the neuro ward. It's the only way we're able to run tests. But over time... his brain is going to just die.

SKINNER looks concerned. Short time later. There is the sound of a door unlocking as DR. HARRIMAN and SKINNER enter MULDER's padded cell.

SKINNER (gently):  Agent Mulder? (no response, SKINNER kneels down) Agent Mulder, can you hear me?

MULDER stares at him. Two of MULDER's fingers on his right hand are bandaged.

SKINNER: Do you know who I am? It's Skinner, Walter Skinner. (to DR. HARRIMAN) Can we get him out of here and get him some fresh air, at least?

Without warning, MULDER suddenly lunges at SKINNER and grabs him by the throat and begins choking him against the wall. MULDER's face is stoic and impassive - almost calm. DR. tries to restrain MULDER.

DR. HARRIMAN: Let him go! He can't breathe!

MULDER pushes SKINNER to the floor, maintaining the choke-hold. DR. HARRIMAN runs out of the room and rings an alarm on the wall. MULDER still has Skinner pinned to the floor.

SKINNER (barely able to speak, blood trickling down from his nose):  Let go, Mulder. I don't want to hurt you.

DR. HARRIMAN enters with two ORDERLIES. They pull MULDER off of SKINNER and push him up against the wall.

ORDERLY: Come on, let him go.

DR. HARRIMAN: Stay there, Mr. Skinner.

SKINNER: No, it's all right. Just let me get up.

SKINNER looks at MULDER who desperately stares back at him from where he is being held against the wall. SKINNER goes out alone into the hall and regains his composure. He cleans off his glasses with his tie. Behind him we hear MULDER screaming in his room as the ORDERLIES restrain him. The alarm continues ringing.

DR. HARRIMAN (angry, voice):  Five milligrams of Haloperidol IM! I want him in five-point restraints!

ORDERLY (voice) : Yes, sir.

DR. HARRIMAN (voice) : Let's keep him locked down all night.

While still listening to the alarm and the voices, SKINNER reaches into his breast pocket and finds a small square of fabric from MULDER's hospital gown. Crudely written in fresh blood are the words, "Help Me." He looks back at MULDER's room.

SCENE 3
IVORY COAST, WEST AFRICA

Two trucks full of several AFRICAN MEN pull up to SCULLY's tent site. They get out of the trucks and run toward the ocean and the buried craft. Still in one of the trucks, a man and a woman, the DRIVER and AMINA NGEBE speak to each other in an African dialect. He points at the tent. AMINA NGEBE, a very lovely, young African woman, gets out of the truck and goes into the tent. Insect massacre has taken place. Dead bugs are all over the tent, on the table, walls, everything. Go Scully. SCULLY still has wet hair, as if she has just finished bathing. SCULLY is packing and seems to be surprised to see someone.

AMINA NGEBE (looking around the tent): My God. What happened here?

SCULLY stares at her suspiciously.

AMINA NGEBE: They said you speak English.

SCULLY: What do you want?

AMINA NGEBE: I am sorry. You must wonder who I am. I am Amina Ngebe. I've come to see your discovery.

SCULLY: I asked that no one be told about it... nor that I'm here.

AMINA NGEBE: Yes. Well, uh, it is still a secret but a well-known one, I'm afraid. Dr. Merkmallen called it the African Internet, God rest him.

SCULLY: You knew Dr. Merkmallen?

AMINA NGEBE: I, too, am a professor of biology at the university but, uh, hardly one qualified to say what must have gone on here.

SCULLY: Well... I was working late last night by lamplight and, uh, I saw a man who vanished... and then they just swarmed.

AMINA NGEBE (looking around the tent):  You must not let the men know what happened to you last night-- the vanishing man, none of it.

SCULLY: Why?

AMINA NGEBE: They are animists, believing nature is vengeful. They'll take this as a sign to leave what you have found alone, a bad omen.

SCULLY: Caused by the ship out there?

AMINA NGEBE: Mmm. Caused by God... who will be much less helpful than those men if we are to continue this work.

Outside, the men are working in the water to uncover more of the craft. One of the men begins screaming.

MAN IN WATER (subtitled): Help ... Help me!

SCULLY and AMINA NGEBE come out of the tent at the sound of the commotion.

MAN IN WATER (subtitled): : The water, it boils!

He splashes around as if in great pain. The other men exit the water, followed by the MAN in pain. SCULLY and AMINA NGEBE run to the water's edge just as the MAN stumbles out of the water. He is covered in second and third degree burns.

SCULLY: Let's get him in the truck! He's got to get to a hospital! Hospital!

The other men lead the BURNED MAN to one of the trucks.

SCULLY: Okay!

AMINA NGEBE: You see? Another warning.

Disturbed, SCULLY runs after the wounded MAN.

SCENE 4
GEORGETOWN MEMORIAL HOSPITAL
11:32 PM

SKINNER walks covertly through the hospital corridors. MULDER is now strapped down to a bed - hands and feet - in a typical hospital room. He lies still, but looks tense, his bare foot rigid. SKINNER enters quietly and closes the door.

SKINNER: Agent Mulder. (holding the scrap of fabric) I want to help you. I don't know what to do. I don't have much time.

(MULDER taps the bed with his bound right hand impatiently.)

SKINNER: Can you write?

(At MULDER's affirmative glance, SKINNER takes a pen and places it in MULDER's hand and holds out his own hand. MULDER slowly and deliberately writes the letters "K-R ..." He continues writing, but we don't see the rest.)

SCENE 5

Night. SCULLY's tent on the beach in Africa. She is lying on her cot staring at the roof. AMINA NGEBE sleeps in the cot beside her.

SCULLY (voiceover) : I feel you slipping away from me with every minute I fail here. What are the elusive meanings I cannot see that are hidden here? If I could understand it, know how it affected you, learn how to use its power to save you.

There is the sound and lights of a vehicle pulling up and stopping. SCULLY gets up and goes outside with her machete in hand. She slowly approaches the truck. Another DRIVER is sitting behind the wheel.

SCULLY: What is it?

The African DRIVER gets out and speaks in his native language to her.

SCULLY: Look, I'm sorry. I don't speak your language.

He speaks again, indicating the ocean with his flashlight, then walks away a few yards towards the site of the craft.

DR. BARNES: Perhaps you need an interpreter.

SCULLY turns sharply and sees DR. BARNES [from Biogenesis] staring at her. He looks a little less than sane. This is the man they suspect killed DR. MERKMALLEN. She raises the machete defensively.

SCULLY: Stay away from me!

DR. BARNES: Are you going to hack me up in front of my driver? Word is you're under suspicion already.

SCULLY: You're the murderer here.

AMINA NGEBE (coming out of the tent):  Murderer of who?

SCULLY: Dr. Merkmallen!

DR. BARNES: I murdered no one but I won't be sent away from here. I know what we've got. This craft that's come ashore? Its extraterrestrial origins?

SCULLY: You don't even believe in that.

DR. BARNES: Nor do you. But here we are.

SCULLY (breathes heavily):  I'm here only to help my partner.

DR. BARNES: Then let me help you... to read it. I've spent my life looking for what's out there ... the answer to what theologians have pondered for millennia... the key to everything... to life itself. I've already been threatened by men in Washington about what I know. How long would your secret keep if you were to send me away?

At the water's edge, DR. BARNES' DRIVER calls to them, beckoning them to the shore. DR. BARNES, AMINA NGEBE and SCULLY run towards the shore as DR. BARNES yells to his DRIVER in the man's native tongue.

SCULLY (to DR. BARNES): What is it?

Under the glare of the DRIVER's flashlight we see the water has turned red.

AMINA NGEBE: It is a sea of blood.

Indeed, the water around the craft is blood-red, visible even in the darkness. SCULLY looks out over the water, concerned.

SCENE 6
G STREET
WASHINGTON, DC
6:06 AM

Hallway of an average middle-lower class Washington, DC apartment building. SKINNER looks at his hand where MULDER has written "KRITSCHGAU," knocks at a door, #6, and a man, MICHAEL KRITSCHGAU from the beginning of season 5, opens the door, leaving it still chained. He is unshaven and dishevelled.

SKINNER: Michael Kritschgau.

MICHAEL KRITSCHGAU: It's 6:00 in the morning.

SKINNER: I don't know if you remember me. My name's Skinner. I'm here to talk to you about Fox Mulder.

MICHAEL KRITSCHGAU: Yeah, I'm listening.

SKINNER: He's in serious condition, Mr. Kritschgau; he has to talk to you.

MICHAEL KRITSCHGAU: I got nothing to say to the man.

MICHAEL KRITSCHGAU starts to close the door but SKINNER holds the door open.

MICHAEL KRITSCHGAU: You know, I had a job... with a government pension coming and two years ago, Fox Mulder asked me to do him a favor -- blow the whistle on Uncle Sam's UFO propaganda mill. And all it got me was this swanky address.

SKINNER: Look, he doesn't have much time.

MICHAEL KRITSCHGAU: Hey, I'm not a doctor. What is it you think I can do for him?

SKINNER: All I know is that he asked for you.

Later, SKINNER and MICHAEL KRITSCHGAU enter MULDER's hospital room. MULDER is still in restraints and apparently comatose, eyes wide open. Monitors register MULDER's brain activity.

MICHAEL KRITSCHGAU: Can he even recognize me?

SKINNER: To be honest, I don't know.

SKINNER crosses to MULDER's bedside.

SKINNER: Agent Mulder?

The monitor registers some brain activity, but there is no physical response.

SKINNER: His brain is on constant redline. They've got him on Haloperidol just to keep him on the monitors.

MICHAEL KRITSCHGAU: Haloperidol?

SKINNER: He becomes violently agitated. He just won't speak or sleep even when he's medicated. There's activity in part of his brain they've never seen before.

MICHAEL KRITSCHGAU: Was his...

MICHAEL KRITSCHGAU stops speaking as the monitor attached to MULDER's brain registers some more activity.

SKINNER: Was his what?

MICHAEL KRITSCHGAU: I started to ask you a question about his prior mental state but he anticipated it. Second time. Agent Mulder?

The monitor registers activity again.

SKINNER: He claimed to be hearing voices.

MICHAEL KRITSCHGAU: I might know why Agent Mulder asked for me. Doesn't mean I can do anything for him.

SKINNER: What just happened?

MICHAEL KRITSCHGAU: I think he responded to a question that ... I didn't ask.

Later, SKINNER and MICHAEL KRITSCHGAU pick the lock of a door and wheel MULDER into a deserted lab type of room in the hospital. There is an IV attached to the wheelchair, and MULDER seems non-responsive.

SKINNER: I don't know how long we can keep him out of that unit. We can be held responsible.

MICHAEL KRITSCHGAU: You asked me to come down here. You better be prepared to accept the responsibility, Mr. Skinner.

MICHAEL KRITSCHGAU goes to a cabinet and readies a syringe.

SKINNER: You're going to inject him?

MICHAEL KRITSCHGAU: No. You are. With a thousand milligrams of Phenytoin.

SKINNER: I'm not injecting him with anything, not now and not till after I've talked to his doctor.

MICHAEL KRITSCHGAU: He's being given the wrong treatment.

SKINNER: You're not a doctor.

MICHAEL KRITSCHGAU: No, but I've seen his condition. Who do you want to trust?

SKINNER: Seen it where?

MICHAEL KRITSCHGAU: In a study. There's something like E.S.P. called "remote viewing."

SKINNER: Whose study?

MICHAEL KRITSCHGAU: The company's-- the CIA, Mr. Skinner. Extreme subjects would go into arrest their minds working harder than their bodies could sustain. They became, in effect, all brain. Phenytoin was the only thing that could slow the electrical impulses to a normal rate.

SKINNER: Agent Mulder knew about this. That's why he asked for you.

KRITSCHGAU nods. SKINNER slowly takes the proffered syringe which is REALLY full, and injects it into MULDER's IV line. Immediately, MULDER's expression relaxes and he becomes more aware.

MULDER (gritting his teeth, in a raspy voice) : They're coming.

SCENE 7

Hospital corridor. AGENT DIANA FOWLEY and the ICU NURSE are walking rapidly toward MULDER's room.

DIANA FOWLEY: Who last saw him?

ICU NURSE: I'm looking here.

DIANA FOWLEY: I come here and find a patient missing, and nobody knew?

ICU NURSE: I just came on. Sorry. Fox Mulder, right? He's restrained, it says; and he's not in his bed?

DIANA FOWLEY: No. How many times can I say it?

The two women enter the room and see MULDER lying peacefully on the bed, SKINNER standing next to him.

ICU NURSE (slightly over DIANA):  He's right here.

DIANA FOWLEY (irritated) : He wasn't here when I came in.

SKINNER: No, we just found him down the hall. I just got him back into bed.

ICU NURSE: Who are you?

SKINNER: I'm his boss, ... (turns to DIANA FOWLEY) ... and hers.

ICU NURSE: Well, I don't know how he could have gotten up by himself or pulled all this stuff out.

SKINNER: Well, I hope someone's calling a doctor making a report on this.

ICU NURSE: He's got to remain in this bed.

SKINNER: I'll stay with him. Agent Fowley, why don't you see if you can help her?

DIANA FOWLEY glares at SKINNER.

SKINNER: That's an order, Agent Fowley.

Angrily, DIANA FOWLEY follows the ICU NURSE out of the room. MULDER licks his lips weakly, then looks up at SKINNER. His voice is hoarse.

MULDER: She knows.

SKINNER: You can read her mind?

MULDER: Yeah. We got to act fast.

SKINNER: The doctor's on his way.

MULDER: No doctors. Get me Scully.

SKINNER: I don't know where she is.

MULDER: Look... I know you've been compromised. I know Krycek is threatening your life... Blackmailing you. You don't think I can trust you but it's not you that I need.

SKINNER: Then who?

MICHAEL KRITSCHGAU is entering the room as MULDER speaks.

MULDER: Him. Kritschgau. Ask him to prove it.

MICHAEL KRITSCHGAU: Prove what?

MULDER: What's causing this.

MICHAEL KRITSCHGAU: It's a brain abnormality. It's how you're able to read minds.

MULDER: What's causing this is alien. That's why my doctors can't help me.

MICHAEL KRITSCHGAU: I don't believe in aliens, Agent Mulder. I think you know that.

MULDER: I do. That's why I need you.

SCENE 8

Beach. Day. SCULLY is piecing together the rubbings from the craft into a large jigsaw puzzle on the floor of the tent.

SCULLY (voiceover) : The work here is painstaking-- a slow and tedious piecing together. It appears to be a craft, its skin covered in the intricate symbols you and I both saw but which I now understand are part of a complex communication. Dr. Barnes has broken some of the symbols into letters using an ancient Navajo alphabet and, though it has helped to uncover some of what's here it has also made for greater confusion. On the top surface of the craft I'm finding words describing human genetics. (On graph paper she translates the names of the four basic nucleotides - CYTOSINE, GUANINE, ADENINE, THYMINE.) Efforts to read the bottom of the craft have been harder. Our workers were scared away by phenomena I admit I can't explain-- a sea of blood, a swarm of insects. But what little we have found has been staggering-- passages from the Christian Bible, from pagan religions, from Ancient Sumeria... science and mysticism conjoined. But more than words, they are somehow imbued with power. I've ignored warnings to quit this work, remaining committed to finding answers, afraid only that our secret here won't last and that I might be too late.

Outside, DR. BARNES begins walking slowly toward the tent carrying a bag. AMINA NGEBE arrives, glances at DR. BARNES, and hurriedly enters the tent with some papers.

AMINA NGEBE: I have something to show you...more pieces of the puzzle. I couldn't believe it. I thought I was making it up in my head, that it could not be true.

SCULLY: What?

AMINA NGEBE: What this is. What the symbols spell out is a passage from the Koran. Qeyaamah. "The day of final judgment." (amazed) On a spacecraft? Teachings of the ancient prophet Mohammed?

SCULLY: I found more, too.

SCULLY leads AMINA NGEBE over to the section of rubbings she has been piecing together.

SCULLY: 24 panels... One for each human chromosome. A map of their makeup-- maybe a map of our entire genetic makeup... (she sighs in amazement) A complete human genome. I mean, it's like... it's the most beautiful... intricate work of art.

AMINA NGEBE (agreeing) : It is the Word of God.

DR. BARNES (entering the tent with a burlap sack in his hand) : You're wrong. There is no God. (he puts the bag under a table.) What's out there on the water... is only what we call "God"... What we call "creation"-- the spark that ignited the fire that cooked the old primordial soup... made animate from inanimate... made us.

AMINA NGEBE (clinically) : I believe he is mad from the sun.

DR. BARNES: Mad? I'm perfectly sane... because today I understand everything, beginning and end, alpha and omega, everything in between. It's all been written. But the word is "extraterrestrial."

SCULLY: You're sick, Dr. Barnes. You need to get off your feet, lie down.

DR. BARNES picks up SCULLY's machete and holds it threateningly.

DR. BARNES: You think you're going to take the credit? This is my discovery.

SCULLY: I'm only here to help my friend.

DR. BARNES: You can't help him. You're wasting your time reading it.

SCULLY: It has power.

DR. BARNES: It IS power... the ultimate power. Your friend just got too close.

He crosses to a corner of the tent by the opening and sits.

DR. BARNES: No one leaves here before me.

SCULLY and AMINA NGEBE watch him nervously.


SCENE 9

MULDER's hospital room. SKINNER and MICHAEL KRITSCHGAU have set up three small video monitors facing away from MULDER but within his reach. Several different pictures, including that of a flying saucer, flash in random sequence on each of them.

MICHAEL KRITSCHGAU: We developed this to test remote-viewing capabilities. It works much like a card trick. You tap the monitor where the saucer image appears when it appears or when you think it does. Okay?

MULDER (half-hearted attempt at making a joke) : Who ya gonna call?

MICHAEL KRITSCHGAU gives a signal and MULDER begins tapping the monitors in succession. Only a few times does he hit the correct monitor when the flying saucer appears.

MULDER: Now. Now. Now. Now. Now. Now. Now. Now.

MICHAEL KRITSCHGAU (disappointed) : All right, Agent Mulder, fine. You're at about five percent accuracy.

SKINNER: I'm assuming that's low.

MICHAEL KRITSCHGAU: Yeah. At the CIA a high degree of ability was 20%. 25% was extraordinary.

MULDER: But I see them in my head.

SKINNER: You saw his ability earlier. It was you who pointed it out.

MICHAEL KRITSCHGAU: Well, our tests showed that some people have psychic abilities, sure. I mean, E.S.P., clairvoyance, remote viewing, but it was never attributed to aliens.

MULDER: You don't want to believe. You're not looking hard enough.

MICHAEL KRITSCHGAU reaches to turn off the monitors, but SKINNER stops him.

SKINNER: One more time, faster.

MICHAEL KRITSCHGAU reluctantly starts the test again, this time increasing the speed of the images. MULDER begins tapping rapidly, with perfect accuracy.

MICHAEL KRITSCHGAU: He's ahead of the images. He's anticipating.

SCENE 10

SCULLY's tent in Africa. Night. SCULLY and AMINA NGEBE lie awake on the cots. DR. BARNES, still holding the machete, sits guard in the corner. Suddenly, everything in the tent shakes, as if a low-level earthquake has hit nearby. Glasses on the table clink. DR. BARNES looks in amazement at the burlap bag he brought in with him. It is moving from within. He pulls out several live squirming fish.)

DR. BARNES: They've come back! They were dead! They've come back to life! The ship-- it brought them back to life!

DR. BARNES turns just in time to see SCULLY hit him over the head with a chair. Go Scully! She and AMINA NGEBE run to the truck. AMINA NGEBE starts the engine and they quickly drive away.

SCULLY: We have to get to the police.

AMINA NGEBE: That is where I'm going. This is the road to Abidjan.

Ahead in the middle of the road, SCULLY sees the PRIMITIVE AFRICAN MAN.

SCULLY: Stop!

Sound of tires squealing as AMINA NGEBE slams on the brakes. When SCULLY looks again, the PRIMITIVE AFRICAN MAN is no longer there.

SCULLY: That was him. That was the man I saw in the tent... in the road.

(SCULLY turns to look at the empty road behind them then turns back to AMINA NGEBE, but in the woman's seat, she sees the PRIMITIVE AFRICAN MAN staring at her.)

PRIMITIVE AFRICAN MAN: Some truths are not for you.

(He reaches out and touches her forehead. She sits frozen, immobile. Suddenly, the PRIMITIVE AFRICAN MAN is once again AMINA NGEBE. She is touching SCULLY's forehead. SCULLY stares at her.)

AMINA NGEBE: Are you all right?

(SCULLY gasps.)

SCULLY: Oh, God. What are you doing?

AMINA NGEBE: You were cold. I was just feeling to see if you were still alive.

SCULLY: What happened to you?

AMINA NGEBE: To me?

SCULLY: You slammed on the brakes. There was a man.

AMINA NGEBE: That's right-- in the road.

SCULLY: No. He was right there-- sitting right where you are in your seat.

AMINA NGEBE: The men were right. This is a bad sign. A sign to give up.

(AMINA NGEBE starts the engine and begins driving again.)

SCULLY: Turn us around.

AMINA NGEBE: Not back to the beach.

SCULLY: No ... I'm going home.





--------------------------------------------------------------------------------

SCENE 11
(MULDER's hospital room. MULDER stares into space. SKINNER is in the room.)

SKINNER: Agent Mulder. (takes MULDER's face in his hand) Agent Mulder, I don't know if you can hear me but we're going to try to get you out of here.

(SKINNER begins unfastening the restraints.)

MICHAEL KRITSCHGAU: (entering quickly) A.M. nurse is on in five minutes. We got to move.

SKINNER: I don't think he's in any shape.

MICHAEL KRITSCHGAU: (preparing a syringe) I'm going to hit him pretty hard. Maybe we can get him on his feet. (SKINNER grabs the bottle of Phenytoin from KRITSCHGAU'S hand) What are you doing?

SKINNER: I know what you're doing.

MICHAEL KRITSCHGAU: (defensively) I'm trying to help him.

SKINNER: No, this isn't about him -- it's about you, it's about revenge against the government for trying to destroy your life.

MICHAEL KRITSCHGAU: I was destroyed to protect what Mulder knew all along. Now he's the proof-- he's the X-File.

SKINNER: We can't just keep shooting him full of drugs. It's gone too far!

MICHAEL KRITSCHGAU: How far should it go?! How far would Mulder go?!

(SKINNER considers, looks at MULDER, then hands the drug back to the other man. Monitors beep. Just as MICHAEL KRITSCHGAU gives MULDER the injection, DIANA FOWLEY, followed by a doctor and a nurse bangs into the room. Monitors beep faster.)

DR. HARRIMAN: Hey! What's going on here?

DIANA FOWLEY: (to MICHAEL KRITSCHGAU) Let me see your hands. Hands!

(MICHAEL KRITSCHGAU holds up his now empty hands.)

DIANA FOWLEY: Step away.

SKINNER: Agent Fowley, what the hell do you think you're doing?

DIANA FOWLEY: What am I doing? What are you doing, sir, with this? (holds up the used syringe that was still on the bed - she turns back to MICHAEL KRITSCHGAU) I want you to face the wall. Do you hear me? Face the wall.

SKINNER: Let me explain.

DR. HARRIMAN: What was this man given? What was in this syringe?

DIANA FOWLEY: (reading) Phenytoin.

SKINNER: Let me tell you what it does.

DR. HARRIMAN: How much did you give him? What dosage was this?

SKINNER: Let me tell you why we did it.

(Just then, the medical equipment attached to MULDER begins beeping rapidly and MULDER begins convulsing. The hospital staff, SKINNER and DIANA FOWLEY move to hold him down. )

DR. HARRIMAN: He's going into seizure. Watch his head. Mr. Mulder? Hold him. Hold him.





--------------------------------------------------------------------------------

SCENE 12
(Beach. Africa. Day. DR. BARNES' DRIVER is looking for DR. BARNES in the tent.)

DR. BARNES' DRIVER: Dr. Barnes... (speaks in his native language) ...Dr. Barnes. Dr. Barnes?

(DR. BARNES' DRIVER turns to see DR. BARNES standing behind him with the machete.)

DR. BARNES: I'm so sorry.

(DR. BARNES' DRIVER screams as DR. BARNES slams the machete into his neck, killing him instantly. Lots of blood. DR. BARNES then drags the dead man into a corner of the tent. )





--------------------------------------------------------------------------------

SCENE 13
(MULDER's hospital room. He is still restrained. DIANA FOWLEY is standing beside his bed.)

DIANA FOWLEY: I know what's happened to you. I know what you're suffering from. I've been sitting back and watching. I know you know. I know you know about me... That my loyalties aren't just to you... but to a man you've grown to despise. You have your reasons but, as you look inside me now you know that I have mine. (touches his cheek.) Fox... Fox, I love you. I've loved you for so long. You know that, too. And I won't let you die... to prove what you are, to prove what's inside you. There's no need to prove it. It's been known for so long. Now we can be together. (She kisses his forehead and turns and leaves.)

(Throughout her monologue, MULDER has remained as if comatose, but as she leaves and the door closes behind her, his eyes follow her as if he is thoughtfully considering what she told him.)





--------------------------------------------------------------------------------

SCENE 14
DULLES INTERNATIONAL AIRPORT
9:25 AM
(Plane lands. Cut to FBI Building. People get out of the way as SCULLY, still in her African outfit, looking quite rumpled and travel weary and probably not smelling her best, yet marching with the purpose that only she can have when her partner is in jeopardy, gets off the elevator and enters SKINNER's office without even knocking.)

SCULLY: Where is he? Is he still in the hospital?

SKINNER: Where have you been?

SCULLY: Is he still at Georgetown Memorial?

SKINNER: You can't get to him.

SCULLY: Do you know where he is or don't you?!

SKINNER: He's in the neuro-psych ward but it's no good, Agent Scully.

(SCULLY starts to leave.)

SKINNER: Agent Scully!

SCULLY: I have been on a plane for 22 hours. I have to see him.

SKINNER: Then I think you should know what you're going to see if you can even get on the ward. There's been some trouble.

SCULLY: What kind of trouble?

SKINNER: I got this man, Kritschgau, involved.

SCULLY: Kritschgau?

SKINNER: It's a long story, but it ended badly. They've got Mulder under security now around the clock. I take full responsibility.

SCULLY: Responsibility for what?

SKINNER: He can't even communicate, Agent Scully. They won't treat him because they don't know what's wrong with him! They said he was dying. I had to do something.

SCULLY: He's not dying.

SKINNER: I'm afraid it's true.

SCULLY: (calm and deliberate) He's not dying. He is more alive than he has ever been. He's more alive than his body can withstand and what's causing it may be extraterrestrial in origin.

SKINNER: I know. But there's nothing to be done about it.

(SCULLY starts to leave again.)

SKINNER: They're going to deny you access.

SCULLY: Maybe as his partner... but not as his doctor.

(She turns and leaves the office.)





--------------------------------------------------------------------------------

SCENE 15
(Africa. Night. Remains of a fire are outside. Another earthquake like rattling. DR. BARNES is clearing away papers. He looks to where the dead body of his DRIVER had been lying, but the body is gone leaving only a pool of blood on the floor. He looks around nervously.)

DR. BARNES: (awed) He's alive! He's come back to life! Holy Mother of God!

(DR. BARNES picks up the lamp and goes out onto the beach.)

DR. BARNES: Hello?

(DR. BARNES sees a trail of footprints leading to the shore, smiles and begins running on top of them, toward the ship. He gasps as he turns and sees his now-resurrected DRIVER standing behind him, his eyes pure white and blood all over his shirt. DR. BARNES screams as the DRIVER cuts him down with the machete. He falls dead into the surf. )





--------------------------------------------------------------------------------

SCENE 16
(MULDER's hospital room. MULDER is staring straight ahead, unseeing. Through the babble of voices that we are hearing in his head, one voice comes through clearly, though as if from a distance. MULDER weakly turns his head in the direction of the voice.)

SCULLY (voice): Please. I need to see him. I'm begging you, please. Thank you.

(We see her standing in the doorway to his room talking with DR. HARRIMAN and two SECURITY GUARDS. They let her pass and close the door as she approaches MULDER's bed.)

SCULLY: (gently) Mulder, it's me. I know that you can hear me. If you can just give me some sign. (No response.) I want you to know where I've been... what I found. I think that, if you know, that you could find a way to hold on. (whisper) I need you to hold on. I found a key... the key... to every question that has ever been asked. It's a puzzle... (her voice begins to break) ... but the pieces are there for us to put together and I know that they can save you if you can just hold on. (She is almost crying as she pleads with him, gripping his hand tightly, staring into his blank face.) Mulder... please. Hold on.





--------------------------------------------------------------------------------

SCENE 17
(Africa. Morning. AMINA NGEBE arrives with several police officers. They find DR. BARNES' dead body on the beach. AMINA NGEBE looks into the ocean. The craft that was buried in the sand now appears to be gone.)

[TO BE CONTINUED ...]

Kikavu ?

Au total, 44 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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26.11.2023 vers 13h

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24.12.2021 vers 11h

Kar026 
30.08.2021 vers 21h

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13.03.2021 vers 22h

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