WEBSTER ELEMENTARY SCHOOL

DEXTER OKLAHOMA

SEPTEMBER 21, 1990

(Elementary school playground. A school festival is going on. First shot is an aerial

view of a large five-armed wheel centered around a pedestal that is turning slowly as

each of the five ponies hitched to the arms walk clockwise. Each has a child on it's back.

A MAN is supervising the "ride." The tune of the lullaby, All the Pretty Little Horses is

underscoring the scene. It is a hauntingly beautiful song, minor. [This was CarriK's

lullaby as a child. Full text of her version of the lullaby is at the end of this transcript.

You can download many versions of it at Napster.] Nearby, a seven year old blonde boy,

BILLY UNDERWOOD, is swinging in the playground area.)

BILLY: Mom! Watch me!

(His mother, LISA UNDERWOOD, is about 11 1/2 months pregnant. She is standing

about 20 feet away, hands resting on her enormous belly, and talking to a friend. She

glances up at BILLY's voice.)

LISA UNDERWOOD: Okay, Billy!

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

is watching BILLY.)

BILLY: Mom! You're not watching!

(LISA UNDERWOOD continues laughing with her friend.)

BILLY: Mom!

(Camera is moving in slow motion. The TEENAGE BOY moves closer and looks at the

cartoon dinosaurs on the back of BILLY's book bag. Amid the crowd of people in the

playground we see BILLY swing into and out of view again, then just the empty swing

seat swings into view. Finally, LISA UNDERWOOD looks back up. BILLY is gone.)

LISA UNDERWOOD: Billy?! Billy?

(She walks over toward the swings.)

LISA UNDERWOOD: Billy! Billy!

(Every parent's worst nightmare has happened. Clutching her belly tightly, she keeps

looking, her voice growing more and more panicked.)

LISA UNDERWOOD: Billy! Billy! Billy!

(No Billy. Nearby, the TEENAGE BOY holds the dinosaur book bag a moment, an odd

look on his face, then drops the book bag to the ground and walks away. LISA

UNDERWOOD, now crying and screaming, continues helplessly looking around the

playground for her son.)

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

Opening credits.

Muld … oh, still not back yet.

Scully rocks.

Doggett … Oh, so Manly.

WEBSTER ELEMENTARY SCHOOL

DEXTER OKLAHOMA

TEN YEARS LATER

(Same elementary school is letting out for the day. LISA UNDERWOOD drives up in a

minivan and gets out. On her way into the school, she sees a 10 year old dark-haired boy,

JOSH UNDERWOOD. She is surprised to see him.)

JOSH: Mom!

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

wait.

(JOSH is not happy about the situation.)

JOSH: They're looking for you.

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

JOSH: Go look, Mom.

(Near the playground, LISA UNDERWOOD sees a group of teachers and school staff.

They are all staring at her. She slowly walks to them.)

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

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

(The school staff parts to reveal a small blonde boy swinging on the same swing set we

saw in the teaser. We see him from behind. LISA UNDERWOOD stares at him in

shock, then slowly goes to him.)

LISA UNDERWOOD: Oh... Billy?

(The boy gets off of the swing and turns to face her. It is BILLY, still seven years old,

dressed in the same clothes. His face is serious. He just looks at her.)

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

(Softly crying, she kisses his cheek and hugs him. BILLY is looking at JOSH over her

shoulder. JOSH watches, not sure what to think.)

LISA UNDERWOOD: (crying) Oh, Billy.

DEXTER COMMUNITY HOSPITAL

11:02 AM

(In an observation room, SCULLY is examining BILLY. DOGGETT is watching and

listening to them through the glass window. He is holding the ten year old "Missing"

flyer of BILLY.)

SCULLY: I'm just going to shine this light in your eyes, okay? You're doing great.

See? Nothing to it.

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

joins DOGGETT at the window.)

DOGGETT: He won't speak?

SHERIFF SANCHEZ: No, not even to his parents.

DOGGETT: Are they here, his parents?

SHERIFF SANCHEZ: Oh, they've been here around the clock. I took his prints... It's

him. Boy should be a teenager by now, but look at him. Explain to me how that can be.

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

SHERIFF SANCHEZ: I talked to everyone at school and no one saw him come back or

how. The boy just come out of the blue.

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

are carrying boxes.)

DOGGETT: Are those the case files?

SHERIFF SANCHEZ: Oh, yeah. Plenty more where those came from. There's lots of

files. There's just not much in them. We never even had a suspect.

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

(SHERIFF SANCHEZ steps away to direct the DEPUTIES.)

SHERIFF SANCHEZ: Set those on that table.

SCULLY: (speaking quietly to DOGGETT) Okay. Well, what we've got here is a

healthy seven-year-old boy who was born 17 years ago.

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

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

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

SCULLY: Mr. and Mrs. Underwood?

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

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

this case.

LISA UNDERWOOD: (smiling with delight, looking toward BILLY) It's a miracle,

isn't it?

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

SCULLY: Mrs. Underwood... whatever your son has been through, it has somehow

affected his physical condition.

LISA UNDERWOOD: So we've been told by every doctor here. We just want to take

him home. After ten years, can we do that?

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

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

(SCULLY is surprised. DOGGETT goes into the room with BILLY and closes the door.

SCULLY and the parents watch through the window.)

DOGGETT: How you doing, Billy? My name's John. I'm gonna have a seat over here,

is that okay? Is that all right?

(DOGGETT sits at the table. BILLY doesn't say anything, just keeps drawing the same

symbol on a piece of paper with a black magic marker.)

DOGGETT: Billy, I want you to know that you're not alone. I've talked to lots of other

boys and girls who've been hurt just like you. Sometimes when they talk about it the hurt

starts to go away. You want to talk about it, Billy?

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

DOGGETT: You know, maybe you think bad things happened to you because you've

been a bad boy... but I'm here to tell you, that's not true. The bad guy is the one who

took you away and it's up to you and me to get the bad guy. See, 'cause as big and tough

as I am, I can't do it alone. I need your help. Can you tell me about him, Billy? What's

his name? What did he look like?

(No answer. DOGGETT opens the evidence bag and sets the backpack with the dinosaur

design on the desk.)

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

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

LISA UNDERWOOD: What is he doing?

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

SCULLY: Uh...

DOGGETT: All I want is his name.

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

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

(She carries him out of the room.)

SCULLY: Mr. Underwood...?

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

DOGGETT.)

SCULLY: You think this is a game?

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

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

abductions?

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

kid can help us.

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

DOGGETT: Well, that's your area of expertise. I just want to put the person who did

this out of business. Billy just didn't show up. He got away or was let go. And if he can

talk, he can tell us by who. Or he can look at photos in the files and point to the man who

did this so this doesn't happen to some other little boy.

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

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

delay puberty and so on?

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

DOGGETT: Good. Then he can talk.

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

(The UNDERWOODS pull up outside their nice suburban house in their minivan. LISA

UNDERWOOD gets out and opens the right-side sliding door. BILLY looks at her.)

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

(DOUG UNDERWOOD opens the other sliding door.)

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

(DOUG UNDERWOOD watches his wife go to the house. BILLY stares at his father.

DOUG UNDERWOOD is uncomfortable. He unfastens BILLY's seatbelt.)

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

(Inside the house, we see the backyard through a pair of glass doors. There is a

playhouse and JOSH is playing ball with a dog.)

DOUG UNDERWOOD: A lot's new here, son. You have a younger brother now.

Josh. See that big dog out there with him? That's Sparky.

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

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

(DOUG UNDERWOOD starts to open the door. SPARKY THE DOG sees BILLY

standing behind the sliding glass doors, and runs up barking ferociously, snarling, and

trying to get to BILLY.)

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

Sparky, hey! What's going on?

(JOSH is looking at BILLY.)

DOUG UNDERWOOD: Hey! Knock it off!

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

LISA UNDERWOOD: What's the matter, Doug?

DOUG UNDERWOOD: I don't know. The dog just went off... Sparky, what is wrong

with you? Come on, let's go.

(LISA UNDERWOOD holds onto BILLY as DOUG UNDERWOOD grabs SPARKY

THE DOG by the collar and drags him off into the yard. LISA UNDERWOOD turns to

BILLY and holds him comfortingly. BILLY doesn't seem upset.)

LISA UNDERWOOD: Honey, it's all right. He just didn't recognize you, that's all.

He's a nice dog, Sparky. He just doesn't realize that you're part of the family.

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

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

home.

DEXTER COMMUNITY HOSPITAL

9:48 PM

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

SCULLY: You going to sleep here, too?

DOGGETT: What time is it?

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

DOGGETT: And what, did you find something?

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

ten years ago.

DOGGETT: We know that.

SCULLY: No. I mean the –same- boy. He has no cavities. He has no tooth decay. He

still has four baby teeth that he's never lost. He had a routine blood test six weeks before

he disappeared in 1990. His cell counts, his enzymes, his hormone levels, they are all

exactly the same as they were ten years ago.

DOGGETT: Now how can that be possible?

SCULLY: It's medically impossible.

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

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

SCULLY: There are … X-File cases that describe similar paranormal findings. Alien

abductees who came back with anomalous medical stats.

DOGGETT: You know, these words: "Anomalous," "supernatural," "paranormal..."

They purport to explain something by not explaining it. It's lazy.

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

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

normal.

(DOGGETT gets another file.)

DOGGETT: I went back to the witnesses at the crime scene the day Billy vanished, to

this guy, Ronald Purnell.

(DOGGETT shows SCULLY a mugshot of the teenager we saw in the teaser, RONALD

PURNELL. #DSDJ-91 850, about 66 inches tall.)

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

SCULLY: What's your interest in this guy?

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

since 1990.

SCULLY: These are juvenile records. These are sealed by the court, Agent Doggett.

We're not supposed to have these.

DOGGETT: And we're at a standstill here.

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

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

(Tension in the room.)

UNDERWOOD RESIDENCE

10:14 PM

(Barking outside. Inside, LISA UNDERWOOD is tucking BILLY into bed in his old

room, apparently. His eyes are closed.)

LISA UNDERWOOD: We love you so much, Billy. It's so good to have you back-- to

be tucking you in. Sleep tight.

(She turns out the light, leaves the room, and closes the door. Immediately, BILLY sits

up. Creepy music. BILLY goes out into the hall and listens to his parents arguing in

their bedroom.)

[Closed captioning also had: LISA UNDERWOOD: He's asleep.

DOUG UNDERWOOD: Billy or Josh?

LISA UNDERWOOD: Both, but I meant Billy.]

DOUG UNDERWOOD: Of course you did.

LISA UNDERWOOD: What is that supposed to mean?

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

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

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

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

DOUG UNDERWOOD: Even Josh is afraid of him.

LISA UNDERWOOD: He is nothing to be afraid of.

DOUG UNDERWOOD: I wish I could believe that.

LISA UNDERWOOD: How can you sit here and say these things to me? I thought this

would make us both so happy.

[Closed Captioning also had:

DOUG UNDERWOOD: We should have tried to get more answers. We were too

quick to pull him out of the hospital.

LISA UNDERWOOD: We weren't quick enough, Doug.

DOUG UNDERWOOD: For all we know he may need some kind of medical attention.

LISA UNDERWOOD: Don't try to make this sound like you're concerned for Billy.

It's sickening.

DOUG UNDERWOOD: What I'm concerned about is this family. Something is wrong

with him, Lisa.

LISA UNDERWOOD: He is our son!]

(BILLY turns away from their room and walks down the hall. He is holding a large

hunting knife. He opens JOSH's bedroom door, enters, and closes the door behind him.

Crayon drawings, including one of JOSH's name, decorate the door.)

(Commercial 1.)

BAKER COUNTY, OKLAHOMA

7:42 AM

(Rundown trailer in a grassless barnyard. DOGGETT arrives in his rental sedan and gets

out of the car. Oil drill in the background.)

DOGGETT: Anybody in there? Hello? Ronald Purnell?

(No answer. An old beige rusted and dented car pulls up in the yard. Unseen by

DOGGETT, a woman in her 40's, MARCIA PURNELL, peeks out one of the windows

of the house. RONNIE PURNELL, now in his twenties, is driving the car. He looks just

as moody and depressed as before. DOGGETT goes to the car window.)

DOGGETT: Ronald Purnell?

RONNIE PURNELL: Yeah.

DOGGETT: Can I talk to you?

(RONNIE PURNELL avoids eye contact.)

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

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

big for him.)

RONNIE PURNELL: Is this about my probation?

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

Ring a bell?

RONNIE PURNELL: (looking down) No.

DOGGETT: It does to everybody else in this area. He vanished from a school fair you

were at ten years ago.

(RONNIE PURNELL looks uncomfortable.)

DOGGETT: You remember him now?

RONNIE PURNELL: Yeah. I remember him.

DOGGETT: You think he'd remember you?

RONNIE PURNELL: Me?

DOGGETT: You. Your face.

(RONNIE PURNELL chuckles humorlessly and shakes his head.)

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

DOGGETT: This has nothing to do with you being stoned or violating your probation.

All I'm asking is that we go see Billy. See what he says.

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

confusion.)

RONNIE PURNELL: See what he says where?

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

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

(RONNIE PURNELL goes into the house. DOGGETT watches him go, then slowly gets

back into his car. He sits a moment, then takes out his wallet and pulls out a fairly new

looking picture of a smiling little boy, perhaps eight years old. The boy looks very

similar to DOGGETT. DOGGETT sighs. [CarriK: Credits listed a LUKE

DOGGETT.] )

(UNDERWOOD house, next morning. LISA UNDERWOOD enters BILLY's room.

The door is not completely closed, and the bed is empty. Death music from Swan Lake is

playing.)

LISA UNDERWOOD: Billy? Honey, are you here?

(She goes into JOSH's room. He is still asleep. There is a bloody hunting knife sticking

up out of the mattress very close beside JOSH. LISA UNDERWOOD screams

hysterically, waking up JOSH.)

JOSH: What?! What are you doing?!

(He jumps up as she runs to him.)

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

JOSH: No.

(There is blood on his nightshirt.)

LISA UNDERWOOD: You're bleeding.

JOSH: Mom!

(She points at the knife.)

LISA UNDERWOOD: Where did that come from?

JOSH: I don't know.

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

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

here?

(JOSH stares at BILLY, clearly freaked out.)

LISA UNDERWOOD: Please, Billy, answer me.

DEXTER COMMUNITY HOSPITAL

11:09 AM

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

SANCHEZ.)

SHERIFF SANCHEZ: Just got word back from the lab. Ran the blood twice and no

doubt about it. It's the little boy's.

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

(DOGGETT takes the knife.)

SHERIFF SANCHEZ: No. You're misunderstanding. It's the other son I'm talking

about, Billy-- the boy who was kidnapped.

DOGGETT: That doesn't make any sense.

SCULLY: No. Billy wasn't cut either.

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

DOGGETT: Where did he even get it?

SHERIFF SANCHEZ: His father's never seen it before. He's no hunter. Never cleaned

an animal, which is about all a knife like that's good for... except for killing, of course.

SCULLY: Well, I hate to say this … but I think that the best thing for Billy and his

family is if he's removed to an institution under the observation of people who are

experienced in these things.

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

through?

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

DOGGETT: You make it sound like he's possessed. Call the exorcist. He's a kid-- a

kid who's been through who knows what kind of hell. Give him a chance. How do you

know he's not trying to communicate something?

SCULLY: And what's the message?

(DOGGETT has no answer.)

SCULLY: Yes, he's a kid, Agent Doggett, you're right. He's a kid who materialized out

of thin air, unaged. Do you not somehow recognize how strange this is?

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

the handle of the knife.)

DOGGETT: Did anybody notice this? This symbol?

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

uh …kind of weird.

DOGGETT: Weird how?

SHERIFF SANCHEZ: Well, like I told you, we tried everything to find that boy, and

who abducted him went so far as to bring in a police psychic ten years back-- came up

with that very same symbol.

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

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

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

DOGGETT: You have?

(SCULLY goes into the observation room. She picks up the sheet of paper that BILLY

was drawing on and holds it up against the window for the men to see. It is covered with

many small copies of the same symbol.)

SHERIFF SANCHEZ: I'll be damned.

(BILLY's bedroom. LISA UNDERWOOD is dressing him. He stands still, not resisting,

just staring at her. "All the pretty little horses" is playing.)

LISA UNDERWOOD: We love you so much, Billy. Whatever happened... we want to

put it behind us. Be a family again. And if you could help us to understand what you're

going through, we could move forward.

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

resist.)

LISA UNDERWOOD: No, we're just going to go see a doctor, someone you might

want to talk to. We're coming right back.

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

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

to you.

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

LISA UNDERWOOD: Billy, I just want you to get the help you need so we can all live

here together and be happy. Okay? Come on, sweetie.

(As they go down the stares, JOSH sighs, closes the door, and goes to the window where

he can look down at the driveway where DOUG UNDERWOOD is getting the minivan

ready. LISA UNDERWOOD leads BILLY outside and DOUG UNDERWOOD sighs as

he buckles BILLY into the back seat. LISA UNDERWOOD is watching from the other

side of the van.)

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

you.

(DOUG UNDERWOOD closes one of the cars sliding doors and looks up to JOSH's

window. LISA UNDERWOOD closes the other sliding door and joins her husband in

front of the car.)

DOUG UNDERWOOD: Look, if you think a shrink can give us some answers, fine. I

just don't want this to ruin our other son's life in any way.

(He gets in the minivan and starts the engine. When he looks over his shoulder to back

out of the driveway, BILLY has vanished from his seat.)

DOUG UNDERWOOD: Billy? Billy?

(Billy is not in the van. DOUG UNDERWOOD gets out of the van and he and LISA

UNDERWOOD begin calling for him.)

LISA UNDERWOOD: Where's Billy?

DOUG UNDERWOOD: Billy?

(They continue calling his name as: )

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

right behind him.)

JOSH: (screaming) Dad!

QUICK CUT TO:

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

MARCIA PURNELL: I don't want no more trouble here, Ronnie. Whatever you're

doing, you do it somewhere else.

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

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

your lip.

RONNIE PURNELL: Who?

(An old pick-up drives up to the house. A truly revolting man, CAL JEPPY, is driving.

He is about 50, balding, thick red-brown mustache and goatee. Probably smells bad and

doesn't brush his teeth often. RONNIE PURNELL is not happy to see him.)

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

(CAL JEPPY gets out of the truck and walks swiftly toward RONNIE PURNELL as

RONNIE PURNELL avoids his gaze and tries to get away.)

RONNIE PURNELL: Get away from me.

(CAL JEPPY corners him and begins taunting him.)

CAL JEPPY: Where you going, weirdo? Hey. Hey. You steal those clothes off a fat

man.? Or'd... you just shrink? Hmm?

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

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

traveling man?

(CAL JEPPY finally lets RONNIE PURNELL get around him, then he walks over to

MARCIA and they begin the redneck mating ritual.)

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

(They kiss. Eww.)

BOTH: Mmm.

(They laugh and she squeals as he slaps her behind and chases her into the house.

RONNIE PURNELL walks into the woods nearby. He finds a spot on the ground next to

a large twisted stump, and, with effort, pulls out a small shovel hidden under the leaves.

He begins digging. Only a few inches below the surface, we see that he has uncovered a

small skull.)

(Commercial 2.)

UNDERWOOD RESIDENCE

5:53 PM

(The living room of the UNDERWOOD house. As SCULLY and DOGGETT watch, a

woman, SHARON PEARL, about 40, is testing a handheld tape recorder.)

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

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

frustrated.)

DOUG UNDERWOOD: This is great. Now, I've got a psychic sitting in my living

room who's going to tell me what's wrong with my son.

SCULLY: I understand your misgivings, Mr. Underwood, but perhaps you can look at

this as just another avenue.

DOUG UNDERWOOD: An avenue to what?

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

who did this to your son.

DOUG UNDERWOOD: And then what? What am I left with? A kid who stabs knives

into his brother's mattress? You don't know the half of it. He gives everyone but his

mother the creeps with that stare of his.

DOGGETT: I just know that this is going to tear you apart. It's going to tear your

family apart. And you can't let it. You've got to save them from the damage this can do.

(JOSH comes down the stairs.)

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

(DOUG UNDERWOOD leaves the house with JOSH.)

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

DOGGETT: Shouldn't you be telling us that?

(SHARON PEARL smiles.)

SHARON PEARL: You're no doubt confused, Agent Doggett. I take psychic readings

not see through walls.

(LISA UNDERWOOD brings BILLY downstairs.)

LISA UNDERWOOD: Sorry to keep you waiting.

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

disappearance back in 1990.

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

SHARON PEARL: And you're Billy?

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

SCULLY: Ms. Pearl? Are you okay?

SHARON PEARL: (voice trembling) There are very powerful forces at work here.

Working through this boy. Drawing him to his brother. I feel this force...

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

SHARON PEARL: I feel this force...

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

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

(SCULLY looks at DOGGETT in surprise. Suddenly SHARON PEARL begins

convulsing and speaking gibberish.)

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

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

DOGGETT: What's happening to her?

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

(SHARON PEARL's forehead begins to swell. The skin ripples into the five-armed

symbol. She seems to be in agony.)

SCULLY: Oh, my god.

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

(PURNELL trailer. As RONNIE PURNELL comes out of the woods and gets into his

car, CAL JEPPY comes out of the house. He is wearing a brown sleeveless shirt and

drinking a beer. He looks pretty relaxed. Eww.)

CAL JEPPY: Hey, Fartknocker.

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

in the car window.)

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

Got something in your ears?

(CAL JEPPY sticks his finger in RONNIE PURNELL's ear. RONNIE PURNELL

flinches and avoids looking at him.)

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

CAL JEPPY: Oh, listen to him. No wonder he wears them baggy britches. Our

Ronnie's a big man now.

(He takes a swig of the beer.)

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

(In a sudden burst of violence, CAL JEPPY smashes the beer bottle against the side of

the car and holds the edge of the broken neck against RONNIE PURNELL's head.)

CAL JEPPY: I am talking to you, not the side of your head. Better mind your Ps and

Qs, Jones. Or I'm going to tell them what you did to that little boy. I'm going to tell

them what you got buried out there in the woods.

(RONNIE PURNELL slowly turns to look at him. CAL JEPPY stabs him with the bottle

right behind his left ear. RONNIE PURNELL gasps in pain and puts his hand to his head

as MARCIA PURNELL looks out the front door.)

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

CAL JEPPY: Talking about cars.

(CAL JEPPY "affectionately" slaps the hood of the car and RONNIE PURNELL's

shoulder, then walks back to the house as RONNIE PURNELL gets the car started and

drives away quickly, tires spinning in the dirt.)

(Night. Outside the UNDERWOOD house later. An ambulance is pulling away. LISA

UNDERWOOD leads BILLY back into the house. SCULLY joins DOGGETT in their

car.)

SCULLY: Well, they've got her stabilized and it looks like she's going to be okay... if

you're at all curious about her condition.

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

SCULLY: Believed what?

DOGGETT: The act.

SCULLY: You think that was an act?

DOGGETT: It's pretty standard fare, isn't it? Float a few choice revelations, as if they

came from on high, roll around on the floor.

SCULLY: You saw that symbol appear on her forehead.

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

(SCULLY takes out the tape recorder and pushes play. We hear the recording of

SHARON PEARL speaking gibberish. DOGGETT does not want to hear it.)

DOGGETT: Agent Scully, please.

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

(More gibberish.)

SCULLY: Now listen to it backwards.

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

VOICE: (singing) When you wake …

DOGGETT: What was that?

[CarriK: Well, if Scully thinks that deep-voiced garbled sound is coming out of a child,

who am I to argue.]

VOICE: (singing) … you shall have …

SCULLY: It's a child singing.

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

SCULLY: Lyrics.

(SCULLY hums the tune along with the voice.)

VOICE: (singing)

Hush-a-bye, don't you cry...

go to sleep, little baby...

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

(SCULLY looks back down at the recorder. DOGGETT notices RONNIE PURNELL's

car pull up across the street.)

DOGGETT: What's he doing here?

(RONNIE PURNELL stops his car in front of the house. As he is looking at the house, a

small hand touches his shoulder. RONNIE PURNELL turns and stares in shock at the

calm face of BILLY.)

RONNIE PURNELL: Get away from me.

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

window.)

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

(DOGGETT also sees BILLY sitting in the passenger seat. Panicked, RONNIE

PURNELL starts the car and drives away.)

DOGGETT: Ronnie. Ronnie, stop the car!

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

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

(SCULLY slides over to the driver's seat and circles the block to cut off RONNIE

PURNELL on a side street. They screech to a halt. SCULLY gets out of the car, gun

ready.)

SCULLY: Get out of the car! Now!

(He does, hands up. DOGGETT catches up with them, and roughly turns RONNIE

PURNELL against the car.)

DOGGETT: Don't move, Ronnie.

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

DOGGETT: Where's Billy?

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

DOGGETT: Where's Billy?

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

turns away angrily.)

DALE'S FOOD AND GAS

9:17 PM

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

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

(JOSH shakes his head.)

DOUG UNDERWOOD: Josh, are you okay, buddy?

(He nods. DOUG UNDERWOOD goes into the station. JOSH's sits up eagerly as he

sees a man leading a saddled pony to a horse trailer next to another pump.

JOSH: Dad, can I...?

(Dad can't hear. JOSH can't wait. He's ten years old and it's a pony! He gets out of the

van and goes over to the trailer.)

JOSH: Mister?

(The pony has already been loaded into the trailer. No sign of the man. JOSH looks

through the slats on the side of the trailer.)

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

(He reaches his arms through the slats.)

[Closed Captioning: JOSH: are you in there? Is it okay if I pet you? Hey, there you

are. Come here, pony. Come here, boy. I'm just going to pet you, okay? Come on. ]

(Suddenly, JOSH's body slams up against the side of the trailer as his arms are grasped

from within. The front of the dusty trailer advertises "Cal's Pony Ride-Along" and has

the five-armed symbol as the central motif. JOSH screams as the pickup truck pulls the

trailer and him away.)

JOSH: Help! Help!

(Commercial 3.)

(Sheriff's office. DOGGETT watches as SHERIFF SANCHEZ books RONNIE

PURNELL. DOGGETT is pacing impatiently.)

SCULLY: Count to ten, Agent Doggett.

DOGGETT: He took Billy.

SCULLY: (sighs) He couldn't have.

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

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

home with his mother.

DOGGETT: I saw him! I saw Billy riding in the car with Ronnie. Why else would

Ronnie take off like he did?

SCULLY: It's impossible, Agent Doggett, like everything else about this case. Like

how Billy can be in his home one minute and then in Ronnie's car the next. Everything

about this case is impossible.

DOGGETT: This kid is the key, Agent Scully. I've been saying that from the

beginning and I'll say it now.

(SHERIFF SANCHEZ opens the door.)

SHERIFF SANCHEZ: Agent Doggett, Agent Scully, I got bad news on top of worse.

Josh, the Underwood's other little boy, has disappeared.

(They both look at him.)

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

Come on.

(SCULLY follows SHERIFF SANCHEZ into another room where the UNDERWOODs

are waiting, worried. DOGGETT calls after her.)

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

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

(RONNIE PURNELL is escorted into an interrogation room.)

DOGGETT: Have a seat, Ronnie.

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

DOGGETT: Well, there can be only one answer, right? I mean, why else did you go to

the house? You went there for Billy, to get him back.

RONNIE PURNELL: No.

DOGGETT: You had him in your car.

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

DOGGETT: Then why go to the house at all?

RONNIE PURNELL: Because I didn't believe you.

**(RONNIE PURNELL has a flashback of BILLY at the fair swinging and calling to his

mother, "Mom!" He sees himself standing next to the swing, something hidden in his

palm, maybe the knife?)**

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

RONNIE PURNELL: You said I could talk to him.

DOGGETT: (cop mode) You needed to talk to him. After all those years, you

couldn't live without him. You wanted him back. All those years, Ronnie. All those

years. Where'd you keep him?

**(Another flashback, this of himself looking a BILLY, bound and gagged, perhaps

under the slatted floor of a barn.)**

RONNIE PURNELL: Man, you don't understand.

DOGGETT: You were sorry you let him go.

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

**(Flashback of himself using the knife through a metal grate to cut the rope binding

BILLY's wrists together. He is singing softly to him in the voice we heard on the tape.

"When you wake you shall have all the pretty little horses." He looks over his shoulder

in fear at someone entering the barn.)**

DOGGETT: Who else knew about him? Your mom?

RONNIE PURNELL: No.

DOGGETT: Where'd you keep him?

RONNIE PURNELL: I didn't.

DOGGETT: What did you do to him?!

RONNIE PURNELL: I didn't do anything. I took care of him. I-I sang to him... you

know, so he wouldn't be afraid.

DOGGETT: (pause, then gently) Afraid of who? Who was he afraid of, Ronnie?

Somebody else involved? Somebody else make you do it? He take that other kid, too?

Billy's brother? He take him?

(RONNIE PURNELL looks worried.)

DOGGETT: You're afraid of him, too, aren't you? You're a victim, just like those other

kids. Is that right? You... me, Billy. This is our chance, man. What's his name?

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

(Later that night, PURNELL trailer yard. Overhead shot of the five-armed pony walker

we saw ten years ago. The horse trailer is parked outside the barn. Police cars arrive.

DOGGETT and SCULLY get out of their car and run to the barn door.)

DOGGETT: FBI! Cal Jeppy! Come out!

(They enter the barn and find JOSH, bound and gagged under the floorboards. Together,

they open a trapdoor and metal grate to free the boy.)

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

(SCULLY looks out through the slatted side of the barn and sees CAL JEPPY running

toward the wooded area.)

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

(Leaving SCULLY with JOSH, DOGGETT runs out of the barn and after CAL JEPPY.

[CarriK: The man can run!] He yells to the backup officers.)

DOGGETT: He's in the woods!

(The others follow DOGGETT.)

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

(Gasping, CAL JEPPY runs through the woods. DOGGETT, flashlight in one hand, gun

in the other, catches up with him.)

DOGGETT: Down on your knees!

(Panting, CAL JEPPY obeys.)

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

CAL JEPPY: He's in the trailer.

DOGGETT: Other kid!

CAL JEPPY: There's no other kid.

DOGGETT: Billy Underwood!

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

(DOGGETT turns and looks behind him. BILLY is standing there, a few feet away.

DOGGETT turns back to CAL JEPPY and the other officers arriving.)

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

(DOGGETT turns to show them where BILLY is. BILLY is gone. As the other officers

cuff CAL JEPPY, DOGGETT walks over to where he saw BILLY standing a moment

before. He looks down at the ground and stares at the small exposed skull that RONNIE

PURNELL uncovered earlier.)

(Next morning. Area is taped off with crime scene tape. The simple melody of "All the

Pretty Little Horses" is heard. DOUG and LISA UNDERWOOD are looking at the little

crude grave. DOUG UNDERWOOD is softly crying. DOGGETT watches them a

moment, then crosses to join SCULLY a few yards away. They speak quietly and

urgently.)

DOGGETT: I don't believe it.

SCULLY: Okay, the clothes, the age and condition of the bones, the location of the

grave. There is no doubt that that is Billy Underwood's skeleton that is in that grave.

DOGGETT: We spent time with this boy. Doctors took Billy's blood. You examined

him yourself. Now, I can't accept it. I can't believe we're asking them to.

SCULLY: I know, but the forensic evidence is going to come out, and what then?

What if I'm right?

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

closed?

SCULLY: Look, I know where you are with this. I have been there. I know what

you're feeling-- that you've failed and that you have to explain this somehow. And

maybe you can.

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

SCULLY: But maybe that's explanation enough. That that's not Billy's brother lying in

that grave, too. That that man who did this is never going to be able to do it again. Isn't

that what you wanted, Agent Doggett?

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

beyond the grave.

SCULLY: All I'm saying is that maybe you succeeded... whether you're willing to see

that or not.

(Lullaby melody again. She holds his gaze for a moment, then walks off alone into the

woods. DOUG UNDERWOOD wipes his face and stands up from the grave. He and his

wife embrace each other tightly. DOGGETT watches them silently.)

The End