The X-Files movie 2: Old Mythology 2003-2004 Sequences 1 to 6 | scully's Blog

Sequence 1:

 

Scene 1:

 

End of a smoky dark blue font.

 

[Camera moving from left to right, like on a boat]

 

Some weak lights start showing little by little.

 

[Camera speeds up]

 

Exit of the cave.

 

There is a white light on the ground, beam of a torch. There is some fog. A foot appears (black shoe).

 

[Camera slowly up, from the foot to the face]

 

In the half dark, here is John Doggett’s face.

 

 

Scene 2:

 

He comes in the cave. Silence. There is only the sound of his shoes resounding in the cave. The beam sweeps the walls of the cave. And just before the front of the cave disappears, you can see a shadow; maybe made by the trees.

 

[The music must start, deaf and oppressing]

 

A human shadow on the right wall (my brain turns it anti-clockwise if you want to have an idea of how I see the front of the cave).

 

 

Scene 3:

 

Doggett walks in the darkness.

 

[Still that oppressing music, a little bit louder]

 

He comes before a metallic door, very rusty. He beams at the top of it, and there is written: CG 1122. He has got the key to open it. At the moment he opens the door and about to come in, a shadow quickly passes on the back of the door.

 

 

Scene 4:

 

Doggett is in a huge very dark abandoned warehouse. He is walking still searching with his lamp. He hears a noise. He turns round, but he cannot see anything. However, the door he left open is now shut.

 

[Close-up of Doggett’s face]

 

He looks puzzled. Then an increasing panic shows on his face.

 

[Very close and fast plans]

 

We barely see a silhouette as the torch is at the height of the unknown creature’s waist, before it falls on the floor. A gunshot blows.

 

[Camera shooting from the torch POV, so to speak]

 

We hear someone slipping on the ground, as the door is closed in a shadow.

 

 

Scene 5:

 

[Close-up]

 

We see Doggett’s face, eyes shut, and the lamp lighting up his face in the very darkness surrounding him.

 

 

Sequence 2:

 

Scene 1:

 

[Camera at the corner of a medium sized corridor]

 

Scully is walking. We hear a ringing phone, somebody picking it up, and yelling:

“Banks, it’s for you”.

 

[Starts in a close-up of the briefcase she is holding]

 

She has a briefcase in her right hand.

 

[Camera stays there, wider angle as she walks away]

 

She does not watch around her, and turns on the right. She knocks. She hears: “come in!”  . She opens the door.

 

 

Scene 2:

 

[Plan from the one at the desk who sees Scully]

 

She comes in.

 

[Camera from Scully’s POV]

 

She sees four men in the room, as she is walking closer to the desk. One is sitting behind the desk, one is near him, dressed all in black and dark glasses that does not let see his eyes, one is an old man in a suit. The last is Skinner, standing near the false window.

 

CALDWELL (man sat at the desk): Thank you for coming so quickly, agent Scully, please have a seat.

 

She sits down in front of him, face unreadable.

 

CALDWELL: I’m director Caldwell.

 

Scully still does not say a word, and keeps staring at him.

 

CALDWELL: I would like to ask you some questions.

 

SCULLY: About?

 

She looks each one of the guys around her without stopping on none, and comes back to Caldwell.

 

CALDWELL: Did you have news from the agents Doggett and Reyes recently?

 

Scully glimpses at Skinner.

 

SCULLY: No, sir.

 

CALDWELL: Did they talk to you about an investigation there worked on?

 

She sighs discreetly, but enough to be seen she is irritated.

 

SCULLY: No, sir.

 

Silence.

 

Caldwell watches Skinner, then comes back to Scully.

 

SCULLY: Can I ask why this cross-examination, sir?

 

SKINNER (walking to the desk): It’s not.

 

SCULLY: Then, what is it?

 

No answer.

 

SCULLY (to Caldwell): Look, I have a class waiting for me… (getting up)

 

CALDWELL: The agents Doggett and Reyes are missing.

 

SCULLY (sitting down): Missing…

 

Caldwell looks up to Skinner, annoyed.

 

SKINNER: They haven’t answered any calls within the last forty-two hours.

 

She takes a moment before she answers.

 

SCULLY: Alright. And, in what am I concerned?

 

She still has a very neutral attitude. It is apparently not the answer the others around expected.

 

CALDWELL: We need you to find them.

 

She looks surprised, or feigns to be.

 

SCULLY: I don’t work in the X-Files anymore.

 

She looks up at Skinner for a moment.

 

CALDWELL: But you are the one to know the best… these kind of investigations.

 

She watches Caldwell deep in the eyes.

 

SCULLY: No, I’m not that person. You will excuse me; I’ve got to join my class.

 

She gets up and leaves the room, in spite of Caldwell calling her.

 

 

Scene 3:

 

Scully gets out of the room.

 

[Camera, someone watching her POV]

 

He follows her with the eyes, from the left to the right.

[Camera on their shoes and pants]

 

He starts walking after her.

 

 

 

Sequence 3:

 

Scene 1:

 

[Night time] [In the woods]

 

A van is hidden in the copses.

 

[POV one of the guys for the following paragraph]

 

There is a dark blue ambiance.

Two men are behind the small truck, faces painted in black. One of them holds an automatic with his two hands, at the level of his face. They are keeping the eye on an old building of crumpled sheeting, an old firm.

 

Four men get out of the building; two of them are holding a long black plastic bag. The man right behind the truck signs to the driver he can see in the rear-mirror. The motor roars. The four men are getting closer.

 

Gunshots raining.

 

[Dramatic music, quick and jerky]

 

One of the men who held the bag falls, another replaces him. The two guys holding the bag run to the van, while the third covers them.

 

THE MAN BEHIND THE TRUCK: Is he dead?

 

The other two put the bag at the back.

 

ONE OF THE BAG MEN: Hard dead.

 

Men in suits and others in training suits run to the man who covers.

 

MAN BEHIND THE TRUCK: GO!

 

The other man behind the truck closes his eyes when the guy who covered them also falls on the ground.

 

[Last plan POV from the back of the van, through the window, the suits looking for them]

 

 

 

Sequence 4:

 

Caldwell is sitting behind a desk.

 

CALDWELL: yes, who disappeared?

 

…

 

CALDWELL: What do you mean it disappeared?

 

…

 

CALDWELL: You’d better find it first.

 

[Pan to the old man, the man with dark glasses, and Skinner]

 

CALDWELL: We’re gonna have to play it tight.

 

 

 

Sequence 5:

 

[Night time]

 

Scene 1:

 

Scully is walking on the car park; there is the Quantico building behind her. She is looking for her keys in her pocket.

 

[The camera is near the back door]

 

She opens the door and gets on.

 

[Camera behind her]

 

 

Scene 2:

 

MAN VOICE: Don’t turn round.

 

Scully does not move but watches in the central mirror. You can see her eyes in it, and only the vague silhouette she can distinguish.

 

[Camera passenger’s seat on Scully – Close-up]

 

SCULLY: Who are you?

 

MAN VOICE: It doesn’t matter, what matters is what you’re gonna choose to do.

 

SCULLY: I don’t understand.

 

MAN VOICE: You must go back to the X-Files.

 

SCULLY (eyebrows frowned): Where are Doggett and Reyes?

 

MAN VOICE: Never show your back to them.

 

SCULLY: To whom? (Silence); to whom? (Silence); you work for Caldwell.

 

MAN VOICE: Go back on Doggett and Reyes’ lead.

 

SCULLY: What lead? Where are they?

 

MAN VOICE: Bad news can hide another, agent Scully.

 

She wants to turn round to face him but he puts his hand between her neck and her shoulder. She looks down to the black leather glove and ends up watching in the rear-mirror.

 

SCULLY: Why should I trust you?

 

MAN VOICE: You’ll be in anyway, but you can decide if you want to live, and in what world.

 

Her eyes are still focused on the mirror. We hear the back door opens. He let go of her shoulder slightly pushing her forward. She still sees the door closing in the mirror on her left. And a tall man with a dark coat goes away. She massages her shoulder with a grimace. She starts the car mumbling a “shit”.

 

[Last plan on the car that goes away]

 

 

 

Sequence 6:

 

[Night time]

 

A big large car with tinted windows turns in a narrow street, in the wet streams of the night. It looks like a dead quarter.

The car stops.

Skinner gets down. He comes in an old building apparently not dwelled (broken windows, doors without lockers…). He walks through a corridor without lights.

 

[Camera twirling in the stairs]

 

Down the stairs, he turns in another room without exit.

 

[Skinners’ POV]

 

He walks to the chimney, only material thing in there, he kneels, takes a key in his pocket, and opens a hatch hidden by soot. He goes down by the metallic bars left for ladder.

 

[Close-up]

 

He looks on the left and the right.

 

[In a musical continuity]