Story Code '#4X06'
by Valerie Mayhew
and Vivian Mayhew
|
'Sanguinarium' Story Code '#4X06' by Valerie Mayhew and Vivian Mayhew |
|
SCENE 1 - AESTHETIC SURGERY UNIT,GREENWOOD MEMORIAL HOSPITAL, CHICAGO, IL
(Surgery lines are drawn on patient’s stomach)
NURSE WAITE:
Miss Holland, I’m Nurse Waite. I’ll be assisting in your procedure.
HOLLAND:
Is it going to hurt?
NURSE WAITE:
You won’t feel a thing. There isn’t even any blood. Doctor Lloyd’s done over a thousand lipo procedures. You’re in good hands.
ORDERLY:
OK, here we go.
(NURSE WAITE and ORDERLY wheel her down the hall)
NURSE WAITE:
I’m going to give a tranquilizer now, and then right before the operation the doctor will give you injections of saline and aesthetic. And all you have to worry about is buying a new wardrobe.
DUTY NURSE:
Here are your messages doctor.
BACKGROUND DOCTOR:
Oh, fine thanks.
(NURSE WAITE enters scrub room)
NURSE WAITE:
Your liposuction patient is prepped and waiting in room five.
DOCTOR LLOYD:
(Frantically scrubbing his hands) Fine, what else am I scheduled for?
NURSE WAITE:
You’ve got a scalp reduction, and a blepharoplasty following.
DOCTOR LLOYD:
Are they prepped?
NURSE WAITE:
Um, no. Would you like me...
DOCTOR LLOYD:
Get them ready please. I’d like to move right along this morning.
NURSE WAITE:
Yes, doctor.
(She leaves)
(He is scrubbing his hands so hard that they bleed)
SCENE 2 - OPERATING ROOM
(DR. LLOYD puts on latex gloves, bloody fingers still visible. Makes incision in patient. Inserts liposuction tool. We see fat sucked out. Cut to: Nurse Waite entering HOLLAND’S pre-op room. )
NURSE WAITE:
How are you doing?
HOLLAND:
Is the doctor going to be much longer? I think my tranquiliser’s starting to wear off.
NURSE WAITE:
I’m sorry, um, I - I don’t know where...
(Cut to: operating room, DR. LLOYD is violently stabbing liposuction tool into unconscious patient, who at this point we see has lines drawn on his balding head. Fat being sucked through tube turns bright red. Cut to: NURSE WAITE exiting pre-op room. Views monitor of operating room 5 which shows the actions of DOCTOR LLOYD. She enters the O.R.)
NURSE WAITE:
Doctor Lloyd!!
DOCTOR LLOYD:
(Pulling down his mask) I think this patient is finished.
OPENING TITLES
SCENE 3 - OFFICE IN HOSPITAL
(MULDER and SCULLY interviewing DOCTOR LLOYD. LAWYER present)
DOCTOR LLOYD:
What else do you call it? When you’re in your body and out if it at the same time? Without the ability to control your actions - to stop yourself from doing what I did to that poor young man? What else do you call it?
MULDER:
Spirit possession or demon possession. While these kinds of extraordinary mental states have been well documented throughout history, they’ve been much maligned, rightly or wrongly, and haven’t held up in court well as a criminal defence.
HOLLAND:
I would like to reiterate that I have advised my client against speaking to you, and I would appreciate it if you would direct any legal discussion to counsel.
SCULLY:
Doctor Lloyd, are you currently taking any kind of medication?
DOCTOR LLOYD:
The occasional sleeping pill, and uh, uh, prescription antacid for my stomach.
SCULLY:
Would you mind allowing me to check the dosage, and which ones?
DOCTOR LLOYD:
No, I really... I would like to know why, because I...
LAWYER:
I think you’ve gotten a clear picture of my client’s story and his willingness to go along with your investigation.
MULDER:
Yes, I believe we have.
SCULLY:
Doctor Lloyd, you say that you’ve taken sleeping pills. How much sleep did you get the night before?
DOCTOR LLOYD:
(Looks at LAWYER who shakes his head) I, uh...I can’t recall.
SCENE 4 - GREENWOOD MEMORIAL HOSPITAL
(MULDER and SCULLY exit elevator)
SCULLY:
The sleeping pill he was taking was something called Somanil.
MULDER:
I’ve heard of it.
SCULLY:
It’s popular because it works directly on the central nervous system and it isn’t stored in body tissue past its intended use. But it’s also very controversial for its addictiveness and its effect on long term behaviour.
MULDER:
What - What was the date of ah, DOCTOR Lloyd’s prescription?
SCULLY:
(Reading folder) Well, he started taking the drug five years ago, and he went through - ooh, he took a lot of it. Nineteen one-hundred-tablet refills.
MULDER:
(Looking at attractive nurse in the hall) Wow.
SCULLY:
(Still looking at folder) Yeah.
(MULDER breaks crime scene tape over operating room 3, and they enter. MULDER turns on light)
SCULLY:
You know, that’s more than a pill a day.
MULDER:
An addiction in other words.
SCULLY:
An addiction which very well could have altered his ability to do his job.
MULDER:
How many of these procedures would you say Doctor Lloyd’s performed?
SCULLY:
Judging from his schedule the day of the accident, hundreds, and probably thousands.
MULDER:
And not one fatality.
SCULLY:
You’re missing my point here, Mulder. This - this place is a veritable factory. Cosmetic surgery is the boom industry of the medical world. And ASU wards like this are a gold mine.
MULDER:
Everybody’s doing it, so I hear.
SCULLY:
And a brand new, state of the art facility like this can support an entire hospital.
MULDER:
(Bending down to look at marks on bloody floor) What do you suppose these are?
SCULLY:
What?
MULDER:
These five marks on your brand new state of the art floor?
SCULLY:
Well, they look like they were made by, uh, the coasters from an O.R. table or some kind of equipment.
MULDER:
They look to me like they were burned or scorched.
(MULDER uses tongue-depressor to connect dots with blood in shape of a pentagram)
MULDER:
In the shape of a pentagram.
SCULLY:
(Giving him the look) Mulder, if you want to connect the dots here, you should look at the facts.
(MULDER rolls his eyes)
SCULLY:
Iatrogenic deaths or - or deaths due to doctor error are upwards of eighty-thousand a year. Doctor Lloyd was pushing his limits. He was an accident waiting to happen.
MULDER:
I’m not a doctor , Scully, but you’ve got to be pushing pretty hard to mistake a beer belly for a bald head - not to mention door number three.
(He indicates operating room number as he exits. SCULLY follows and they watch monitor in another O.R.)
MULDER:
It’s amazing that no one saw him in time to stop him.
SCULLY:
Maybe they were all possessed.
MULDER:
I don’t think it’s just a simple possession, Scully. I think it’s more like sorcery or black magic or something like that.
(NURSE WAITE comes out of O.R. 5)
MULDER:
(To NURSE WAITE) Excuse me, what kind of procedure is that up there?
(indicates O.R. 5)
NURSE WAITE:
It’s a rhinoplasty. I’m sorry, who are you?
SCULLY:
Uh, we’re with the FBI. I’m Agent Scully, and this is Agent Mulder. We’re investigating a patient’s death here.
NURSE WAITE:
Oh, uh ...yes. (She hangs her head)
SCULLY:
(Looking at NURSE WAITE’S name tag) You’re Rebecca Waite. You were the attending nurse at the time. Am I correct?
NURSE WAITE:
Yes.
SCULLY:
Could you explain to me what happened to Doctor Lloyd. How - how a mistake like this could happen?
NURSE WAITE:
No - no I-I can’t really, um, I wasn’t in the O.R. at the time and ... it’s, uh, difficult for me in my position.
SCULLY:
Did you observe Doctor Lloyd at all before the accident?
NURSE WAITE:
I helped prep the patient. I was supposed to assist. I did my job as a nurse.
MULDER:
Are you aware that Doctor Lloyd is claiming he was possessed during the incident?
NURSE WAITE:
(Pause, smiles) I guess it’s cheaper than malpractice insurance.
MULDER:
Uh huh. (Smiles)
(DOCTOR SHANNON comes out of O.R. 5)
DOCTOR SHANNON:
(To NURSE WAITE) Give him five-hundred c.c.s of ringers wide open before he goes to recovery. I need you to keep up with me here.
NURSE WAITE:
(Leaving) Right away, Doctor Shannon.
SCULLY:
(Holding badge) Uh, Doctor Shannon, can we have a word with you, please?
DOCTOR SHANNON:
I’m sorry. I’ve got a patient who can’t wait.
(She closes door of another room)
SCULLY:
Yeah, there’s magic going on here, Mulder, only it’s being done with silicone, collagen, and a well placed scalpel.
(SCULLY looks at monitor with disgust, MULDER looks with interest)
SCENE 5 - BOARD ROOM
(Wood table has pentagram)
DOCTOR KAPLAN:
What we have to do here is keep calm and do nothing out of the ordinary. The appearance here of any dissembling or impropriety will only deepen the FBI’s probe on top of Doctor Lloyd’s insurance investigation.
DOCTOR ILAQUA:
Doctor Lloyd has made us a target.
DOCTOR SHANNON:
The last thing we need is to be caught up in an expose.
DOCTOR KAPLAN:
Then they start looking at our books again. I mean it’s bad enough we have to explain why buttock lipostructures cost four-thousand a pop.
DOCTOR ILAQUA:
We look greedy, therefore we look guilty.
DOCTOR FRANKLYN:
We haven’t done anything wrong, Doctor Ilaqua.
DOCTOR KAPLAN:
If we give any credence or credibility to Doctor Lloyd’s story, they’re going to burn us at the stake.
DOCTOR SHANNON:
What about the other personnel. They were talking to the nurse .. Waite?
DOCTOR FRANKLYN:
She can’t tell them anything. ... because she doesn’t know anything.
SCENE 6 - PREP ROOM
FEMALE PATIENT:
I can’t feel my feet. I’m having a skin peel, but I can’t feel my feet.
NURSE WAITE:
It’s okay, it’s okay. Your feet are still there. They aren’t going anywhere.
FEMALE PATIENT:
I ... it’s just .. I’m afraid to be put to sleep. What if I don’t wake up?
NURSE WAITE:
Not to worry, not to worry. I want you to relax and think about your beautiful new face.
(NURSE WAITE is pulling leeches off the FEMALE PATIENT’S belly. They have left five marks that form a pentagram)
NURSE WAITE:
You’re in good hands. We’re going to protect you.
SCENE 7 - MULDER’S HOTEL ROOM
(He is looking in mirror, scrunching his nose. Knock at the door. MULDER lets SCULLY in)
SCULLY:
You wanted to show me something?
MULDER:
Yeah. A videotape. (Puts tape in VCR) This videotape of the operation shows that the five marks delineating the pentagram were in evidence prior to the patient’s death.
SCULLY:
Stop it a second.
(Tape shows Lloyd stabbing with liposuction tool)
SCULLY:
My god, Mulder. He basically stabbed the man to death in his sleep.
MULDER:
Which only underscores the strangeness. A sane man acting under his own volition could never perform such an act. Look. (Points out marks) There.
SCULLY:
Well, presuming that has anything to do with this, who would have put them there?
MULDER:
I don’t know. A pentagram is supposed to be a symbol of protection and positive power used to control the elemental forces.
SCULLY:
Well, then it doesn’t even make sense.
MULDER:
Yeah, but it does make sense that - that witchcraft or black magic would find a theatre in a place like this, preying on the weak and vainglorious.
SCULLY:
But there’s no other evidence of anything like witchcraft taking place here.
MULDER:
Maybe there is. What was that, uh, prescription that Doctor Lloyd was taking?
SCULLY:
The sleeping pills?
MULDER:
No, the stomach antacid. Read me what it’s made from.
SCULLY:
‘An anti-spasmodic whose active ingredients include belladonna alkaloids -’
MULDER:
Belladonna. It’s also known as Witch’s Berry - that’s an herb used in hexing rituals.
SCULLY:
Mulder, do you know how many pharmaceuticals listed in the PDR contain belladonna?
MULDER:
Yeah, just one - the one Doctor Lloyd was taking.
SCULLY:
Well, if it’s that simple, why don’t you put out an APB for someone riding a broom and wearing a tall black hat?
MULDER:
(Smiles sarcastically, wounded) You jest, Scully, but there’s a good chance that this hex or ritual or whatever it is, may not be finished.
SCENE 8 - SCRUB ROOM
(DOCTOR SHANNON enters scrub room. DOCTOR ILAQUA is scrubbing)
DOCTOR SHANNON:
Well, the FBI seemed to have backed off at least for the time being.
DOCTOR ILAQUA:
Yes.
DOCTOR SHANNON:
Are you finished for the day?
DOCTOR ILAQUA:
Yes.
DOCTOR SHANNON:
I’ve got a laser peel. Then I’m out of here. We’re going to get through this, Eric. All we have to do is keep our heads on straight.
NURSE WAITE:
(Entering) The patient is prepped, Doctor Shannon. Is there anything you need me to do?
DOCTOR SHANNON:
Yes, I’m going to need a clean pair of scrubs from the laundry. I forgot to pick some up.
NURSE WAITE:
I’ll get them now. Is there anything you need, Doctor Ilaqua?
DOCTOR ILAQUA:
No, thank you.
(Exits the room as if in a trance)
(Later, DOCTOR SHANNON in scrubs and NURSE WAITE try to enter locked O.R. room #2)
DOCTOR SHANNON:
Am I prepped in another room?
NURSE WAITE:
No, your patient’s in O.R. 2. (Looks at monitor) Who’s that?
DOCTOR SHANNON:
That’s Doctor Ilaqua. What the hell is he doing with my patient?
(Inside O.R. 2, DOCTOR ILAQUA with a maniacal gleam in his eyes is operating a laser)
DOCTOR SHANNON:
(Through door) Doctor Ilaqua! Open this door!
(DOCTOR ILAQUA is drilling through unconscious FEMALE PATIENT’S neck)
DOCTOR SHANNON:
Eric! Open this door immediately! Doctor Ilaqua, do you hear me? You’ve got to stop this now!
(NURSE WAITE watches monitor, then takes off running down hall)
DOCTOR SHANNON:
(Still through door) This is wrong! What are you doing? Stop this right now! Eric open this door immediately!
(DOCTOR ILAQUA continues to drill)
DOCTOR SHANNON:
This is Doctor Shannon! I said stop this now! STOP!!!!!
SCENE 9
(SCULLY is examining DOCTOR ILAQUA with a pen light)
SCULLY:
You don’t remember anything, Doctor Ilaqua? How you got in the room, or what compelled you to do such a thing?
DOCTOR ILAQUA:
No, I was on my way home.
SCULLY:
Do you realise what you’ve done now?
DOCTOR ILAQUA:
Yes.
SCULLY:
(Seeing prescription bottle in DOCTOR ILAQUA’S pocket) May I? (She removes bottle, and reads it) I’ll be right back.
(Exits, leaving him with a guard)
(MULDER is in an office playing with rhinoplasty - nose - software on a P.C.. He looks at nose he has created, places a pencil on his own nose, makes a face, shakes his head and tries again. SCULLY enters)
MULDER:
Did you examine the victim?
SCULLY:
No, just Doctor Ilaqua, why?
MULDER:
I found something else on the videotape.
(SCULLY glances at the computer screen, then follows MULDER to VCR. He pauses the tape)
MULDER:
Right there.
(Video is of NURSE WAITE removing leeches from female patient)
SCULLY:
What are they? Bruises?
MULDER:
I don’t know, but the orientation of the points describes a pentagram again. See.
SCULLY:
Well, I found something, too.
(Hands MULDER prescription bottle)
MULDER:
That’s the same prescription Doctor Lloyd was taking.
SCULLY:
You think it’s just a coincidence?
(They share a disbelieving look)
SCENE 10 - CONFERENCE ROOM
DOCTOR SHANNON:
Any change in scheduling or workload is going to give the appearance of covering guilt. We can’t compromise our position on this.
(MULDER and SCULLY enter)
SCULLY:
Sorry to barge in, but this is a matter of some urgency.
DOCTOR FRANKLYN:
Uh, no, please. Doctor Jack Franklyn. May we ask that you sit down?
MULDER:
It appears we’ve interrupted a gathering.
DOCTOR FRANKLYN:
Gathering? Sir .. can you imagine this group’s concern about what’s happened, and our urgency to resolve this? And to finally bring the person responsible to justice.
SCULLY:
Finally.
DOCTOR FRANKLYN:
(Rises) I don’t know how much of this you know, but uh, ten years ago there were several deaths at this hospital here in the ASU and like uh, the recent deaths they were all ruled accidental.
MULDER:
Were any of you here at the time?
DOCTOR FRANKLYN:
A few of us, yes, but .. more importantly ... there’s a nurse, Rebecca Waite. She was on the ward during those incidents. Six weeks ago, she transferred back here to the ASU.
SCULLY:
Do you have any other reasons to suspect her?
DOCTOR FRANKLYN:
Well, she’s the only person on the ward who had some contact with each of the victims and the doctors involved.
MULDER:
Have you spoken with her?
DOCTOR FRANKLYN:
No, she left the uh, hospital early, and no one’s been able to find her.
(MULDER and SCULLY look at each other)
SCENE 11 -REBECCA WAITE’S HOUSE
(Night. We hear her speaking foreign language. She sits naked before a candle at an altar burning pieces of hair in some sort of ritual)
(MULDER and SCULLY arrive and walk up to house. They hear a cat meow. SCULLY knocks. No answer. MULDER points to a broom outside the door)
MULDER:
Probable cause.
SCULLY:
On the suspicion of being a witch?
(MULDER smiles and opens screen door. He points to a pentagram drawn near top of door. SCULLY looks resigned to the fact that MULDER will get into this house. They draw their guns and flashlights, nod at each other, and MULDER kicks in the door. They enter. SCULLY finds altar with candles burning)
SCULLY:
What could she have been doing in here?
MULDER:
Probably not tax returns.
SCENE 12 - 1953 GARDNER ST,WINNETKA, IL
(Night. Car, a Jaguar, pulls up. DOCTOR FRANKLYN gets out and enters. He tries to turn on the lights, but they don’t work. Cautiously he goes upstairs into a bathroom. Bathtub is full of dark liquid. Written on the mirror is ‘VANITAS VANITATORUM’. Suddenly, NURSE WAITE jumps out of tub and attacks DOCTOR FRANKLYN, they fight, then she disappears. DOCTOR FRANKLYN stands, goes downstairs and dials 911)
911 RECORDING:
You have reached the 911 emergency line. Please stay on the line ...
(NURSE WAITE attacks him from behind, he knocks her out)
(Later, MULDER and SCULLY arrive. MULDER shows his badge and they pass the ambulance to where NURSE WAITE is being restrained outside DOCTOR FRANKLYN’S house)
NURSE WAITE:
You don’t know what you’re doing! Let me go, now! (To MULDER) They don’t understand. You have to tell them!
MULDER:
I want to speak to her.;
NURSE WAITE:
Tell them!
MULDER:
I need to speak to her ...
SCULLY:
Mulder, don’t ...
NURSE WAITE:
I tried to stop him, but it’s too powerful. (Wheezes) Someone has to stop .... (Painful wheezing and gagging)
SCULLY:
Get the paramedics over here! Get the paramedic over here now!
(NURSE WAITE vomits up straight pins and blood, then collapses)
EMT:
Watch it. (With stretcher) Come on.
(lifts NURSE WAITE onto stretcher)
SCULLY:
She’s swallowed straight pins and is bleeding internally. You’ve got to get her into surgery immediately.
EMT:
There we go.
SCULLY:
(To MULDER) I’m going with her to the ER.
(SCULLY leaves with ambulance. MULDER looks at regurgitated pins and shakes his head)
SCENE 13 - DOCTOR FRANKLYN’S BEDROOM
(DOCTOR SHANNON is sewing a cut on his head)
DOCTOR FRANKLYN:
I would have done it myself, but I’m still a little shaky.
DOCTOR SHANNON:
Jack, you’re a lot cooler than I’d be if it’d been me.
DOCTOR FRANKLYN:
Ah, well, the important thing is it’s over now.
MULDER:
(Knocks) Doctor Franklyn?
DOCTOR FRANKLYN:
Ah, Agent Mulder.
MULDER:
I came by to see if you were okay.
DOCTOR FRANKLYN:
Yes. I - I’m fine. Thank you.
DOCTOR SHANNON:
That woman broke in here. She was in here waiting for him.
MULDER:
Looks like she took a pretty good shot at you.
DOCTOR FRANKLYN:
Yes, apparently.
MULDER:
(Big friendly smile) Nothing that a little plastic surgery won’t fix up though, huh?
(DOCTOR FRANKLYN looks at MULDER)
MULDER:
Do you have any uh, idea why she might have attacked you?
DOCTOR FRANKLYN:
Well, I’m the one who voiced suspicion about her.
MULDER:
She wouldn’t have known that.
DOCTOR SHANNON:
Could have been any one of us - she’s obviously quite mad.
MULDER:
Ah, we have reason to believe that she’s a practitioner of ritual magic.
DOCTOR FRANKLYN:
Ritual magic?
MULDER:
A practicing witch.
DOCTOR SHANNON:
You’re saying she’s who’s responsible for Doctor Lloyd and Doctor Ilaqua? That witchcraft caused them to kill those patients?
MULDER:
I think a lot remains to be proven.
DOCTOR FRANKLYN:
Hem, I’m sorry. Ah, This evening has been a bit much, and I really need to get some rest.
DOCTOR SHANNON:
(To MULDER, very direct) I think all of us would like to get some rest... (Puts on coat) …get back to work and put this behind us.
(DOCTOR FRANKLYN lies down on bed. MULDER follows DOCTOR SHANNON out, closing the door behind him. DOCTOR FRANKLYN slowly rises to hover two feet off the bed. His eyes are open and he smiles, then closes his eyes)
SCENE 14 - MULDER’S HOTEL ROOM, 3:40 AM
(Book on table - The Encyclopaedia of Witchcraft and Demonology. MULDER is looking at his face critically in the mirror. Knock at the door)
SCULLY O.O.V.:
Mulder, it’s me.
MULDER:
(Turning from mirror) Come in, it’s open.
(SCULLY enters)
MULDER:
God, you look tired.
SCULLY:
I do? (She crosses to look at herself in the mirror and sighs) I was just at the hospital. Our suspect, Rebecca Waite was just pronounced twenty minutes ago.
MULDER:
Cause of death?
SCULLY:
Massive blood loss due to oesophageal haemorrhaging caused by the expulsion of hundreds of straight pins.
MULDER:
You ever seen anything like that?
SCULLY:
Well ... in med school I saw some weird stuff.
(MULDER crosses over to witchcraft book)
SCULLY:
Uh, there’s a - a psychiatric disorder called pica which is characterised by the craving for non-food objects like clay, rocks, glue, but if she swallowed ...
MULDER:
She would have died long before she yakked them up on the driveway. Unless, of course she didn’t ingest them at all, which would fit with the phenomenon called allotriophagy.
SCULLY:
(Sitting beside MULDER on bed) Allotriophagy?
MULDER:
(Showing her book) Yeah, the spontaneous vomiting or disgorgement of foul or strange objects usually associated with someone possessed.
SCULLY:
Mulder, I - I won’t refute that this woman may have been practicing the occult, but ... what comes out must first go in.
MULDER:
Well, according to this book people throughout history have coughed up all kinds of things from cue balls to butcher’s knives without any explanation of how they got there.
SCULLY:
(Indicating book) Where’d you get this from?
MULDER:
Rebecca Waite’s house. It’s the same place I got this. (Crosses to desk and picks up a calendar) This calendar was open to April. The Thirtieth was marked by a symbol that you’re familiar with by now?
(marked with a pentagram and word ‘Roodmas’)
SCULLY:
What’s the significance of the Thirtieth?
MULDER:
It’s one of the four Greater Witches' Sabbaths, there seasonal high holy days - according to that book over there, it’s also known as ‘Roodmas.’ It’s also the birth date of the first victim. (Thumbs through calendar) Now July Thirty-First, is also marked with a pentagram. This coincides with ‘Lammas’, another one of the Witches' Sabbaths. It’s also the birth date of the second victim.
SCULLY:
So you think she was choosing her victims based on their birthdays.
MULDER:
No, no, remember, I said the pentagram is a - is a protective symbol. I think Rebecca Waite was trying to save those patients. I think she knew that they were in danger.
SCULLY:
Which made her attack Doctor Franklyn.
MULDER:
I think she knew something about him and I think we should find out what that is before he goes back to work.
(SCULLY considers)
SCENE 15 - SCRUB ROOM
(DOCTOR SHANNON enters scrub room where DOCTOR FRANKLYN and DOCTOR 2 are scrubbing up)
DOCTOR SHANNON:
I just got a very disturbing call.
DOCTOR KAPLAN:
From whom?
DOCTOR SHANNON:
The FBI. They were asking about patients’ birth dates.
(DOCTOR FRANKLYN looks uncomfortable)
DOCTOR SHANNON:
They’re on their way over here right now.
DOCTOR KAPLAN:
I thought this was over.
DOCTOR SHANNON:
Apparently not.
(Leaves)
DOCTOR KAPLAN:
You had a good thing going, you can bet somebody will try and take it away. I’m beginning to understand why a man becomes a conservative - he’s got something to conserve. (Notices DOCTOR FRANKLYN in pain as he puts on robe) Are you all right, Jack?
DOCTOR FRANKLYN:
Yeah, I just didn’t get much sleep last night.
DOCTOR KAPLAN:
No, of course you didn’t.
DOCTOR FRANKLYN:
I’ll be fine.
DOCTOR KAPLAN:
(Into wall intercom) Gail, push my ostoplasty back half an hour.
GAIL O.O.S.:
Yes, doctor.
DOCTOR KAPLAN:
(To DOCTOR FRANKLYN) I’m taking your chem peel. You’re going home.
DOCTOR FRANKLYN:
I said I’ll be fine.
DOCTOR KAPLAN:
Take a look at yourself.
(DOCTOR FRANKLYN looks in mirror)
DOCTOR KAPLAN:
You look like hell, Jack.
DOCTOR FRANKLYN:
Look, I appreciate the offer ...
DOCTOR KAPLAN:
Don’t get me wrong. I am not being magnanimous, here. We just can’t afford to make any more mistakes right now.
(leaves, DOCTOR FRANKLYN removes his hat)
SCENE 16 - CAR
(SCULLY on phone)
SCULLY:
(On phone) Yes. Thank you. (She hangs up) Doctor Franklyn’s already left, but his office confirms that one of his patients has a birth date which corresponds with one of the Sabbaths.
MULDER:
When is that patient scheduled?
SCULLY:
This morning - she’s already in pre-op, and one of the other doctors is filling in.
(MULDER and SCULLY look at each other)
SCENE 17 - PRE-OP
PATIENT:
(Under influence of sedative) Is Doctor Franklyn okay?
DOCTOR KAPLAN:
He’s just not feeling very well.
PATIENT:
Oh. I- I suppose this is one of those procedures that all doctors here could deal with, is-isn’t it?
DOCTOR KAPLAN:
Yes.
PATIENT:
Yes. Doctor Franklyn said that a c-chemical skin peel is safe ... almost ... risk ... free.
(DOCTOR KAPLAN picks up chemical bottle)
(MULDER and SCULLY enter hallway. They speak to a nurse)
MULDER:
We’re looking for Doctor Shannon.
(At end of hall, DOCTOR Shannon begins screaming. MULDER and SCULLY run to her. They see in O.R. that PATIENT’S face has been dissolved by the chemical. DOCTOR KAPLAN looks on in horror at what he has done)
DOCTOR SHANNON:
Oh!
(He begins crying)
SCENE 18 - HOSPITAL OFFICE
DOCTOR SHANNON:
Our practice has been affiliated with Greenwood for thirteen years. Now the ASU accounts for over fifty percent of this hospital’s revenue. Do you understand what that means?
SCULLY:
It means that while doctors in other fields have seen their earnings fall because of managed health care, you’ve all managed to become wealthy.
DOCTOR SHANNON:
We fill a need. We didn’t create it. Everyone wants to be beautiful.
(SCULLY looks at MULDER)
DOCTOR SHANNON:
But our success made us arrogant. I’m willing to accept responsibility for certain of our ... mistakes.
MULDER:
‘Mistakes’? Like those patient deaths ten years ago?
DOCTOR SHANNON:
That any of us could be capable of such gross negligence was inconceivable.
SCULLY:
So you covered it up.
DOCTOR SHANNON:
If we did it was with the hospital’s blessing. They conducted an internal investigation. We have become too valuable an asset, something to protect. Even at the cost of five people’s lives.
MULDER:
There were five deaths?
DOCTOR SHANNON:
Yes. Four patients. The fifth was a colleague of ours who ... for all intents and purposes, worked himself to death. He died of a drug overdose.
MULDER:
What was his name?
DOCTOR SHANNON:
Doctor Cox. Clifford Cox.
MULDER:
Do you have a file on him?
DOCTOR SHANNON:
Probably in the computer.
MULDER:
All right, I’m going to need that and the files on those patient deaths ten years ago.
SCULLY:
Why, Mulder? What are you thinking?
SCENE 19
(MULDER looking at COX’S file)
APPLICATION FOR APPOINTMENT TO THE MEDICAL STAFF
DOCTOR Clifford Cox
July 7, 1939
1671-7377-2
Mountview Medical Arts Bldg.
2050 Nelson St., Chicago, Ill
312/555-0107
312/555-0169 312/555-9102
1728 Alhermi St. Apt. 415
Chicago, Ill
Single M American
MULDER:
Doctor Clifford Cox, birth date July Seventh 1939, now can you take that photo and run it through the cosmetic surgery program I saw on this computer?
DOCTOR SHANNON:
It’ll take me a few seconds to load up the software.
SCULLY:
Mulder, I’m still not sure where you’re going with this.
MULDER:
Ten years ago, four patients died. Like the recent victims, their birth dates all match the Witches' Sabbaths. Except Doctor Cox.
SCULLY:
But Cox was a doctor. Nothing about his death matches up except its coincidence.
MULDER:
Maybe, maybe not.
DOCTOR SHANNON:
I’m on line here.
(Picture of Cox appears)
MULDER:
Okay, now this software was created to give patients an idea of their projected result, right?
DOCTOR SHANNON:
Within the limits of what the patient comes in with, we try to approach that aesthetic ideal. The computer runs a program based upon a matrix of relative proportions.
MULDER:
Vanity. (Looks at SCULLY) Vanity, ... all is vanity.
DOCTOR SHANNON:
Here it is.
MULDER:
Now, can you move the eyes further apart and strengthen the forehead?
DOCTOR SHANNON:
That is beyond our surgical capabilities.
MULDER:
I know.
(DOCTOR SHANNON and SCULLY look confused. DOCTOR SHANNON types, looks more confused)
DOCTOR SHANNON:
I don’t understand. It looks like Jack Franklyn.
SCENE 20
(Heavy breathing. We see DOCTOR FRANKLYN sweating, carving a word on a hard surface - ‘SH ‘-)
SCENE 21 - HOSPITAL CORRIDOR
SCULLY:
Where else do you think he would be?
DOCTOR SHANNON:
I don’t know. I’ll check the O.R.. Maybe he’s there.
(DOCTOR SHANNON leaves. MULDER approaches)
SCULLY:
He’s not answering his pages.
MULDER:
Did you try his home?
SCULLY:
Answering machine. What are you thinking, Mulder? That Doctor Cox murdered these patients ten years ago then became DOCTOR Franklyn?
MULDER:
No, Scully. I think he murdered those patients so he could become Doctor Franklyn.
(Hands her pictures of COX and FRANKLYN)
SCULLY:
This kind of transformation is medically impossible.
MULDER:
It’s not medicine, Scully. It’s blood sacrifice.
SCULLY:
(Gives him ‘That Look’) ‘Blood sacrifice’?
MULDER:
The most potent offering in black magic. What if this man, having reached the limits of medical miracles, decided to stage a miracle all his own?
SCULLY:
So this man committed these murders in order to make himself beautiful?
MULDER:
Everybody wants to be beautiful, Scully.
SCENE 22 - OPERATING ROOM
(DOCTOR FRANKLYN alone in an O.R.selects scalpels and other sharp instruments and lays them out on cart. DOCTOR SHANNON enters)
DOCTOR SHANNON:
Jack. What are you doing?
DOCTOR FRANKLYN:
I’m so glad that you’re here.
(Folds his arms)
DOCTOR SHANNON:
Jack, stay right where you are.
(DOCTOR FRANKLYN nods his head. Instruments that he had laid out on cart disappear, DOCTOR SHANNON gasps in pain and falls against the wall, then to floor. DOCTOR FRANKLYN leans over her)
DOCTOR FRANKLYN:
I hope those instruments were properly sterilised.
(Kisses her on forehead, then leaves)
SCENE 23 - DOCTOR FRANKLYN’S HOUSE
(MULDER and SCULLY enter DOCTOR FRANKLYN’S house. It’s raining outside)
MULDER:
Doctor Franklyn?
(MULDER goes upstairs, SCULLY stays down)
MULDER:
Scully, come over here. (She walks back to stairs) Stop right there. Look what you’re standing on.
(It is a pentagram on the tile floor. MULDER comes back down. )
MULDER:
This one’s different. It’s been inverted. See these two upright points here? They represent the God of Lust, attacking heaven with its horns.
SCULLY:
Look, he’s inscribed all the names of the patients who were killed.
(They see ‘Shannon’ carved at one of the points)
(MULDER and SCULLY look at each other, then run out the door)
SCENE 24 - HOSPITAL CORRIDOR
(DOCTOR SHANNON is being wheeled on a gurney)
DOCTOR:
Clear the way. Moving through! (To DOCTOR SHANNON) What did you swallow?
(DOCTOR SHANNON does not answer)
DOCTOR:
What did you swallow?
ORDERLY:
She didn’t say.
DOCTOR:
I’m going in to do an exploratory laparotomy.
DOCTOR SHANNON:
Please ... don’t.
DOCTOR:
Give her two units blood, stat. Someone get a sixteen gauge I.V. in and open it wide.
NURSE:
I’ll get the I.V., Doctor.
(DOCTOR SHANNON is now in O.R., now, blood on her lips. They transfer her to OR table)
DOCTOR SHANNON:
No ... please no, .... no....no, please, don’t ...
(Mask comes down over her face)
SCENE 25
(Hand with scalpel. DOCTOR FRANKLYN. He begins to cut along his own hair line)
SCENE 26
(MULDER and SCULLY enter hospital)
MULDER:
Where’s Doctor Shannon? They said she was brought in here in an emergency?
NURSE:
Doctor Shannon?
(MULDER and SCULLY walk down hall, looking in O.R. rooms)
SCULLY:
Mulder, in here.
MULDER:
Don’t let them operate on her.
(Runs down hall)
MULDER:
Hold them off until you hear from me!
SCULLY:
Where are you going?
MULDER:
To find Doctor Franklyn.
(He is gone)
SCENE 27
(Pool of blood at DOCTOR FRANKLYN’S feet. He takes small fork and begins to peel the skin off his face. It looks uncomfortable)
SCENE 28 - OPERATING ROOM
DOCTOR:
Forceps.
NURSE:
Here you go.
DOCTOR:
Sponge it. Suction.
NURSE:
Suction.
DOCTOR:
Saline.
NURSE:
Saline.
DOCTOR:
More sponge.
SCULLY:
(Entering) You have to stop this procedure immediately.
DOCTOR:
Whoever that person is, get her out of here, now!
SCULLY:
I’m Special Agent Dana Scully. I’m an FBI agent.
(Shows badge)
NURSE:
Get out here, now!
SCULLY:
Listen to me! I’m a doctor.
DOCTOR 2:
(Entering) What the hell’s going on here?
SCULLY:
I’m a federal agent.
DOCTOR 2:
I don’t care who you are. You can’t interrupt a surgery in progress. This woman could die.
SCULLY:
That’s exactly what I’m trying to prevent.
SCENE 29 - WARD
(MULDER enter ASU O.R. ward)
INTERCOM:
Doctor Hallender, please call obstetrics. Doctor Hallender, please call obstetrics.
(MULDER sees OR monitor with bloody scalpel. He enters O.R., and sees DOCTOR FRANKLYN’S face lying on the floor. MULDER looks a little nauseated)
SCENE 30 - OPERATING ROOM
(DOCTOR SHANNON’S OR. They are unstrapping her, surgery finished. MULDER enters)
MULDER:
What happened?
SCULLY:
Well, they saved her life. They just pulled a whole whack of surgical instruments out of-of her intestinal tract. God only knows how they got there.
MULDER:
Then it failed.
(Alarm begins blaring, people yelling and crying. MULDER and SCULLY go to another OR)
HYSTERICAL NURSE:
I tried to stop him! He just went crazy!
DOCTOR:
We’re losing her, fast!
MULDER:
What is this patient’s birth date?
SCULLY:
(Grabs chart) October Thirty-First. Halloween.
MULDER:
On Samhain ... the Fourth Witches’ Sabbath.
SCENE 31 - CITY OF ANGELS MEDICAL CENTER
(Nice car pulls up to City of Angels Medical Centre. Attractive man gets out . Cut to : inside)
FEMALE DOCTOR:
I can’t tell you how happy I am that you’ve decided to join us, Doctor Hartman.
DOCTOR HARTMAN:
(In DOCTOR FRANKLYN’S voice) Well, I like what I’ve seen so far. The truth is, I’ve always been drawn to Los Angeles.
FEMALE DOCTOR:
With your credentials, I’m sure you had plenty of options. I’ve been reviewing your patient portfolio. Your work is among the most impressive I’ve ever seen.
DOCTOR HARTMAN:
I like to say whoever God didn’t get around to creating in his own image, it’s our job to recreate in ours.
(They share a smile)
[THE END]
David Duchovny (Special Agent Fox Mulder), Gillian Anderson (Special Agent Dana Scully),
Andrew Airlie (Attorney), Norman Armour (ER Doctor), Richard Beymer (Dr. Jack Franklin), Martin Evans (Dr. Hartman), O-Lan Jones (Nurse Rebecca Waite),
John Juliani (Dr. Harrison Lloyd), Arlene Mazerolle (Dr. Shannon), Paul Raskin (Dr. Eric Ilaqua), Marie Stillin (Dr. Sally Stanford), Gregory Thirloway (Doctor)
Directed by Kim Manners
TX:
US TX - 10th November 1996
Notes:
*Featuring Special Agent Fox 'Spooky' Mulder and Special Agent Dana Scully
*’Sanguinary’ means carnage, bloodthirsty, consisting of blood’ ‘Sanguinaria’ means bloodroot; ‘Sanguinarium’ is Latin for 'place of blood'
*1953 Gardner Street - probably named after Gerald Gardner, who founded Gardnerian, his own form of witchcraft, in 1953. His is the most-practiced form of witchcraft today, and he also published many books on witchcraft when laws against the practice were revoked, also in 1953
*Rebecca Waite, the nurse who was a witch - Rebecca Nurse was the name of a witch in Salem. Arthur Edward Waite was a famous writer on medieval witchcraft, and co-creator of the modern Tarot deck of cards; he also belonged to the same secret occult order as Alistair Crowley
*Doctor Shannon - named after Vince Gilligan’s favourite actress, Shannon Tweed
*Pentagrams - production designer Graeme Murray made the A.S.U. surgical unit consist of a suite of five operating rooms, each room at the point of an imaginary pentagram; the doctors also had a five sided scrub room, with five scrub sinks
*Vanitas Vanitatum, the words scrawled in blood on the mirror - this means 'Vanity of the Vanities'