(There is a repetitive banging sound from MULDER’S end. He speaks loudly to compensate.)
SCULLY: (on phone) Mulder?
MULDER: (on phone, voice) Yeah. I was a little worried about you. I was wondering if you needed my help up there.
SCULLY: (on phone) Needed your help on what?
MULDER: (on phone, voice) I left you a message at the motel. You didn’t get it?
SCULLY: (on phone) I was up and out this morning. Mulder?
MULDER: (on phone, voice) Yeah?
SCULLY: (on phone) What’s that noise? Where are you?
MULDER: (on phone) I’m at home. They’re doing construction right out the window. Hold on a second. (to imaginary construction workers) Hey fellas! Can you just keep it down for a second, maybe? (He bounces his basketball twice more and tosses it away from him. It crashes into some piece of furniture. MULDER pauses then picks up phone again.) Thank you. (to SCULLY) Yeah, hey. I was - I was thinking about this case. You know, maybe it’s not witchcraft after all. Maybe there’s a scientific explanation.
SCULLY: (on phone) A scientific explanation? MULDER: (on phone) Yeah, a medical cause. Something called chorea.
SCULLY: (on phone) Dancing sickness.
MULDER: (on phone) Yeah, St. Vitus’s dance.
(MULDER opens his refrigerator. It contains absolutely nothing besides a jug of orange juice.)
MULDER: (on phone) It affect groups of people causing unexplained outbursts of uncontrollable jerks and spasms.
(MULDER takes a swig of the juice straight from the bottle. )
SCULLY: (on phone) Yeah, and hasn’t been diagnosed since the Middle Ages.
(MULDER makes a face at the taste of the juice and looks at the date on the bottle. OCT. 97)
MULDER: (on phone) Oh. (Spits juice back into bottle.) You’re obviously not a fan of American Bandstand, Scully.
SCULLY: (on phone) Mulder?
MULDER: (on phone) Yeah?
SCULLY: (on phone) Thanks for the help. (Hangs up.)
MULDER: (on phone) Hello?
BONSAINT: That your partner?
SCULLY: Yep.
BONSAINT: I’m sorry for eavesdropping but has he maybe got some insight on this?
SCULLY: (definitive) No.
BONSAINT: I see.
(OFFICER RIGGS plays the record that was on the player - Hokey Pokey. Privately, RIGGS seems to remember it was playing in the background when he last spoke on the phone to MELISSA. He turns it off.)
SCULLY: You know, Chief Bonsaint – Jack – can I call you Jack? I’ve been thinking that maybe … maybe we need to explore other possibilities.
BONSAINT: I’m not sure I understand.
SCULLY: Well, maybe we need to keep our minds open to … extreme possibilities.
BONSAINT: Okay, but aren’t you on vacation?
(SCULLY sort of nods, then looks away.)
SCENE 12 (Turner house. Hokey Pokey is playing. Polly is napping with the doll. As song ends, MELISSA enters and begins to take doll away from POLLY. Doll's eyes open.)
DOLL: Let's have fun.
(MELISSA backs away in horror. Record player starts over on its own. MELISSA goes back down stairs to kitchen and begins crying. She looks up and sees reflection of OFFICER BUDDY RIGGS in her kitchen window holding his bloody nightstick.)
BUDDY’S IMAGE: Melissa … help me.
MELISSA: No!
SCENE 13 (Restaurant. SCULLY and BONSAINT at a table. Waitress places a very large lobster in front of them. BONSAINT sighs with pleasure.)
SCULLY: Oh, my god! That looks like something out of Jules Verne. We’re supposed to eat that?
BONSAINT: (ripping off a piece) A little late for anything else. You said you had some other directions you were looking at?
SCULLY: I’ve been thinking about Melissa Turner. Now, you said that her husband died in a boating accident?
